NEW SHEET-MUSIC. 


VOCAL. 
Friendlesas. A descriptive piece of sheet-music, with 
Solos for Sopranoand Tenor, and Quartet for mixed voices. 


Words by O. A. Curtis; Music by T. Martin Towne, 


Effective concert piece.........-.++e+rees ae yoke vee 4o 
The Mystic Vell. SongandCho. Illustrated. Henry 
C. Work Ry PER AP I Oe ep eee sees 35 
An inspired melody, though very eas: and flowing. In 


taining that view: 
“Come one step nearer, one shade clearer! 
Breathe oue word before we part.” 
But I see nothing in all this but a longing, common to every 
one, for communion with the loved and lost. 


C. Work 
This is based upon the following incident: 
1 widow had long toiled in the Land 
eached them: “Come and see your 
v ney started immediately, but while 
crossing the Sic a, the youngest became il], and in a few 
hours breathed bis last. He was buried in a lovely spot, near the 
summit. The mother lived long enough to greet her surviving 
sons; but her mind wandered, and she never fully realized that 
Willie had gone before. 


Skilfully handled in both words and music. 
tiful effects and homeiy pathos. 


35 


Full of beau- 


Grandfather's Clock. Illustrated. 
Henry C, Work 
As quaint a conceit in its way as Dr. Holmes 

horse Shay."’ It reaches the heart, however, with much 

more power, and is already too popular to require descrip- 
tion, for if you haven't it already you soon will have it, and 
then you will know all about it. 


Song and Cho. 


me Same, with lithographic likeness of Mr. 
UCAS .. wae ee - 


The Same, arranged for Guitar by W. L. Hayden... 35 


Sankey’s ‘** Ninety and Nine.’? With splendid 
Vortraits of both Messrs. Moody and Sankey 35 
The portraits alone are worth the price. 


Little Golden Hair. 
R.W. Wright ; 


) 
; 

ifasy, bright, aud beautitul. All who love children ex- 
claim, “ ‘loo sweet for anything !"" 


We Shall Never Forget. 
Briggs...... oes 
A tearful bu iring tribute toour “* Brave Boys in Blue 

who marched away, and when their battles all were o'er 

**came no more.”’ There is no bitterness in this, nothing to 

which any one can object. 


Mr, and Mrs. 
25 


Song and Cho. 


“We've a little, bright-eyed birdie In our house, 
Golden-aired, aud just as cunning us o mouse 


Song and Cho, 


The Same, in vocal parts only. For use asa ‘* Decora- 
tion Hymn" ($5 a 100) 10 
This is one of the most telling, effective decoration hymns, 

in both words and music, that has ever been written. You 


will want it the 30th of May. 


Well Meet in Heaven at Last. Song and Cho, 
art” Ee Walter DUS MROG. doves val aude ucctlenlistoven 2 
Beautiful words wedded to simple music, which, when 

once heard, Aaunmts you. While a charming song for all 

home and social gatherings, it was first written asa parting 
song for school graduates, and is specially adapted to all such 
occasions. 

Nightingale, Sing Vic to Rest. 
Julian UO, Schultz 
Easy and natural, yet artistic. 

The warbling of the nightingale, skilfully represented in 

the accompaniment, adds much to its effect. 

Oh, Keep My Image Near to Thee. Song and 
Cho. Words by Samuel N. Mitchell. Music by 
Tanks... 2. 
This, like the N 

tion. The melody 


Song and Cho, 


tingale g, requires a cultured rendi- 
nd the harmony in the chorus demand 
true, smooth voices. It cannot be well sung by everybody, 
and yet it is not difficult, But in words and music it is « 
beautiful song, well worthy of the author of ** Silver ‘Uhreads 
amonz t sold.” No extract can do it justice. 
studicd as a whole to be appreciated. 
concert. 
There’s a Good Time. SoncandCho. Wordsby E. 
R. Latta. Music by R. B. Mahaffey... ............56 25 
This is a song of h and good cheer that everybody can 


sing and everybody ought to sing, for, with all its simplicity, 
tis uine inspiration. Untlair as it is to judge of the 
s 


its chorus alone, I here give it in miniature. Get 
y friends to join you and sing it with spirit. You will see 
how Mr. Mahaficy, by the simplest means, lifts you into the 
real enthusiasm of good cheer: 


good ume we shall sees 


v 7) : 

~ There's a good tine, there's a good time, There's a grod time yet to be. 
aoe. e2 e2f ££ ¢ | oo G* 
== = = 


_—— 
4 


35 
e melody will live. | 


_ At must be | 
Good in parlor or | 


. 


C. M. CADY’S MUSICAL PUBLICATIONS, 


. ~~ s — 


Vespers of Home. Song, or Duet and Cho. D. 
Hayden Lloyde.. <i.....c0-en-cee isseceeess Me eviwe fee 25 
This is a beautifully drawn picture of children ‘ white- 

robed"’ for their rest, saying their evening prayer, ‘Now I 

lay me down to sleep.’ Here is a part of the third stanza: 

penne ya dle,’ so pray the children, and the mother’s head drops 
ow: 
One from out her fold Is sleeping deep beneath the winter's snow + 
‘Take +9 souls,’ and past the casement flits a glean of crystal 
light, . 
Like the trailing of Ils garments, trailing evermore in white,” 


Sluting on the Style. Comic Song. Witnessed, 
written, and composed by A. F. Hater - 2 
This, in a style of broad humor, describes how a so tical 

Newfoundland dog made a fashionable lady dissatisfied with 

the long train of her dress. ‘Those who enjoy a good, hearty 

laugh will get this. 


| Communion Service for the Episcopal Church, by 
Sweet Echo Dell. Songand Cho. Illustrated. Henry | 


Wm. H. Walter, Mus. Doc., organist of St. Ignatius Church, 
Wew Yorks... .dsacc . dup A. oop ee ple ol bean’ ov knee +-1 00 


Interesting to all cultivated choirs, but especially so to such 
as desire a fresh communion service that will grow better and 
better with use. If any farther endorsement of its sterlin, 
excellence be needed, it is afforded in the fact? thet it is 
adopted and sung in the choral service of Trinity Church, 
New York. 


The two following remarkable songs, words and music by 


Henry C. Work : 


On THE 


35 
This, in both words and music, is one of the most pathetic 
and powerful pictures ever drawn. 
“Saturday night! Saturday night! 
The last hope that lingered dius taken its flight. 
From ee till evening, the weary weck throvgh. 
In vain has he battled for somayelBe to do. 
Poor man! empty-handed how can he return 
‘To those whose fate hangs on the pence he may earn ? 
Jiow can he reply to his questioner sweet: 
* Did papa bring papa’s dirl somefin’ to eat ?* 
Cronus. “* Out of employ! out of employ! 
Distress in tlie cottage where once there was joy. 
How frightful the shadows that fall on the floor. 
When want and starvation appear al the door!” 


The genius of Mr. Work is nowhere more apperent than in 
this song. ‘The music is easy, natural, and very expressive, 
but one of the strongest features of the song isthe skillwith 
which he heightens the picture by bringing intofach verse 
the innocent prattle of the starving child : 


“If ma doze to heaven, den Imust do, too; | | 
But, pa, Pt frow down bread and butter for spy 


And in the last verse: i 
* Dess Dod fordits us when He bakes daily braid!” 


But the thrilling power of this song is, after all lergely due 
to the fuct that it is so terribly true. How magy i: the last | 
few years have been driven by these “ shadows pn the floor” | 
to the poor-house, the insane asylum, and the grave! Ifany 
wonder how such things can be in this land o} penty, they, 
find an answer in Mr. Work’s other new and cenvulsively 
comic Irish song, ‘** Mac O' Macorkity.”” 


“ Plaze, Blddy, plaze have yez got soom cold vittie? 
Yer dooar's badly tinded to ; sure’n I rang twoP. 
Doon't faitch me stha 1; fill me baskite argcittles 
With soonithing wh table—s thing wiys noice. 
One of our boorders is just about u's 
Of roast | and sich lolke he can’t git his fi 
But frult-cake is what me poor mither isemyhy |, 
And there's our great fattin’ pig squailin’ for gill. 


There are torches of delicate humor in thispog, worthy of 
Tom Hood, as, for example, where the beggar#tl, in order to 
prove hers an “ ould Oirish family,” avers, 


* Along the hoighway forninst Castle Kilfacy 
We roue in our donkey-vans ages ag 


nl 
: 


rv. 


: 


Bu the broadest Hogarthian stroke of all is the way he ends 
eact verse with 2 


; “There's our great fattin® pig squallin’ for swill.” * 
‘Themusic here is as excruciatingly funny as the words. 


Words by Ella D, Cheek. 


Soft-ly in tho valley there Daisies palo and lilies fair 
Bloom above your sunny hair, Angel Marna May. 


And i sonly. swectly piece. While the stars thoir vigils keep, 
or 


Aud 
Cue 


lonely sitand weep my Marna May. 
Angel Marna, Marna May, Guard me lest I go astra’ 
Angels, leave the gates mee Yul nieet thee, Marna My. 
The ausic 1s flowing and natural, and so full of real_inspira- 
tion hat, when once heard, it cannut be forgotten, Mr. Ma- 
haffe is young, and likely to become famous as a composer. 


LetMe Dream Again. Song. Sullivan........ 25 

‘Vis very popular and beautiful song is here arranged for 
voics of medium range, with choice notes for high voices. 
Jusias complete and even more desirable than some of the 
so c editions of other publishers. This song will be found in 
Pwrior Gems. 


” 


INSTRUMENTAL. 


for the aid of teachers and others, the pieces under this 
had have the key indicated by letters and the grade of diffi- 
city {in a scale trom 1 to 7) by figures. 


| Himan’s Grand March, 


Tripping Waltz. C,2. J. W. Shryock.......... 
18° Schottische. C, 2. ne ides she cee 
I'yo easy and charming pieces, both for the parlor and for 
teacling purposes, Mr. Shryock displays great talent in this 
styly of composition. The waltz is adapted to organ or 


piarp. 
Fim-Flam Waltzes. G, 3. Chas. Hambitzer.. 


Hfilliant, showy, and popular in style, 
ia Memories. [,3, Wm. R. Chapman... 


25 


35 


ano or organ. Written for and performed by the Sanh 
atthe obsequies of his intimate friend, the late Mr, R. W. 
ire of New York. Artistic, full of pathos and tender 
efity. : 
March of the Century, C,4. Wm. R. Chap- 


This represents the Alas shepherd-girl sending back 
*t*bve echoes” to the shepherd-boy’s pipe. Full of melody 
artl sweetness. 


Caprico de Concert. D minor, 6. Wm. R. Chap- 
ROSA bs a sracn Pca eer iaena ety sialpt as ate Si sue cue Cee ck tae io 
A balliant concert piece and octave study. Mr. Ghaupien 

is young, cultured, talented, and very promising as a com- 

poser. 


The following instrumental pieces by Alberto Himan are so 
beautiul, effective, and, in different ways, attractive, that they 
merit special attention, and will, I am sure, become very pop- 
ular, A little more than ten years ago, a boy fourteen ycars 
old, under the wom de plume of ** Jules hard,”’ wrote 
“La Blondine” and other things, that were published in Eu- 
rope, reprinted in this country, and became popular through- 
out the civilized world. Having played the piano in concerts 
nearly round the world, he now settles down in New York to 
make for himself a reputation as a composer under his real 
name, Alberto Himan. These are some of his first effusions 
under this name, They are all carefully fingered. 


4° 
SOUVENIR, DE NINA, 


2 BERTO NIMATTS 


This has a sustained, ringing melody throughout, with a 
beautiful rippling accompaniment, Sure to please performers 
and listeners. Grade 4. 

Ed, 3 


T “Sy L : a 
Those who visited the Centennial last year will perhaps 
recognize this as there played by Gilmore's famous orchestra. 
Brilliant, and in the popular style. 


ody. 
Everybody’s Favorite Mazurka, 4. 
Brilliant and charming. 


Merry Maskers. Gand D,3............. «+ venat 


2 
This gives two picces to be played at the same time by aa 
performer—one piece by the right hand che other by the left. 
1, "Fisher's Hornpipe” and ** Yankee Doedle;"' 2, ‘* Der 
Freischuetz Waltz’’ and ‘‘ Buy a Broom.’ The effect is very 
comical, The feat seems impossible to the listener, but ‘s 
really not difficult, and 1s very useful to the performer in se- 
curing independence of hands. Interesting to cverybody. 


Farewell. D,3. M. Brownold. ; 
TwoGems. Return. A, 3._ Allred Smith, foes 3 

These are both artistic and beautiful i ene 
_All the above pieces may be playe 
piano, 


THE LIBRARY 
OF 


THE UNIVERSIVY 
OF CALIFORNIA 
LOS ANGELES 


MUSIE 
LIBRARY 


* genio =e 


. : 
my 
’ 
iv 
y 
x 
‘ 
os ol 
“! t 


XITTTth Thousand. 


2 


AP... 
Qe SEK, 


INSTRUMENTAL AND VOCAL, 


BY THE 


BEST COWPOSERS, 


TO WHICH IS ADDED ORIGINAL 


CHARADES FOR PARLOR PERFORMANCE. 


Cc.M,. CADYT. 


NEW YORK: 
PUBLISHED BY THE AUTHOR, CC. M. CADY, 
107 Duane STREET. 
1879. 


Entered according to Act of Congress in the year 1875, by C M. Capy, in the Office of the Librarian of Congress at Washington 


CHAMPION 


(Spouting Spring) : 


N AT URAL: *W Alia 


FROM SARATOGA. 


FOR SALE BY ALL RESPECTABLE DRUGGISTS AND DEALERS IN MINERAL WATERS. 


THE CHAMPION SPOUTING SPRING contains a very large preponderance of the elements which render mineral waters valuable as 
medicine, and which are in constant use by Physicians of the various schools ; and the remarkable cure of some of the prevailing diseases 
has given the water of this Spring great favor among professional men. For Headache, or disordered state of the Stomach arising from 
the use of wine or hearty eating, it is a fine corrective, giving immediate relief. It is invaluable for the treatment of Biliousness, Dyspepsia, 
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Bi-Carbonate of Lime, is recommended by Physicians for Bright’s Disease of the Kidneys, and Diseases of the Bladder. 

DIRECTIONS.—As a cathartic, take half a pint or more, as experience may dictate, before breakfast, and at a moderately high 


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The constant and increasing success of the CHAMPION WATER is due to its hygienic properties; it is refreshing and healthful, and 
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ORDERS ADDRESSED TO 
PARK & TILPORD, New York City. W. H. BROWN & BRO., No. 25 South Sharp Street, Baltimore, Md. 
E. J. HART & CO., No. 73—79 Tehoupitoulas Street, N. 0., La. | . G. CORNELL, Penn Avenue, Washington, D. C. 
JONES & SIBLEY, Cor. sth and Market Street, St. Louis, Mo. STOTT & CROMWELL, Penn Avenue, Washington, D. C. 


J. \ BE. N, BLOCKI, No. 20 Market Street, Chicago, III. BULLOCK & CRENSHAW, No. 528 Arch Street, Philadelphia, Pa. 
H. C. GAYLORD, No. 110 Monument Square, Cleveland, 0. FREDERICK BROWN, Cor. 5th and Chestnut St., Philadelphia, Pa, 
COLEMAN & ROGERS, No. 168 West Baltimore St., Baltimore, Md. §. 8. PIERCE, Cor. Court and Tremont Street, Boston, Mass. 


CARTER, HARRIS & HAWLEY, No, 356 Washington Street, Boston. 


Offentach, 


TO MY FRIEND, 


Sauuer T. finimay, Eso, 


ibrary 
> M 
fa 


of New YoR« 


THIS WORK IS RESPECTFULLY DEDICATED. 


PREFACE. 


‘It has been my aim to present in this book the best selection of music 
and afford iw at a price so low as to be within the reach of ail. 
vocal morceaux, ranging in difficulty from easy to moderately di 
popular and brilliant to the standard and classical, but each oa: 
seeking a@ variety of the best music 
discovery that: Beethoven, Mozart, Mendelssohn, Schumann, Schubert, Chopin, Strauss, 
Sullivan, Hullan, and the other composers represented in this 


jrom 


Gounod, Kucken, 


+h Apot ay 
the 0est ANA 


extant, for paricr use, 
It includes instrumental and 
LGicult, and in quality from the 
its kind a@ Gem. In thus 

most popular authors, I have made the 
Auter, 


collection have really written tetier than I ever did, and therefore the bock contains no effusions 
4 


of my oun. 
the fact of the above discovery be neatly worked inio my ep 


No doubt many 


thousands of musical people will be the happier for it. 


Let 


waph. It is hoped that this grave 


sentiment may impart to my prologue the solemnity so eagerly sought for in every well regulated 


preface. 
New York, May 15, 1875. C. M. C. 
TABLE OF CONTENTS. 
INSTRUMENTAL. 32. Reminiscence of Mignon. Arranged by Berg..... conosee A. Thomas. 
SS. Cnrigur Sboryt pce a-ta sean an'o'a cence welds eos Sele ates oe Schumann. 
1. Flying Dutchman... -.......--0-c-scccses esses Arranged by Himan. 84. Giroflé-Girofla Lanciers, Arranged by Claude.............. Lecoeg. 
2. Recollections of a Music Box............++.---eeseeceeeeeces Pape Sb: Sonate! Haedlesses/</\-cos dooce ta ws cose ete es cnce oa Beethoven. 
3 Lee oan Bo osp sac cae GEerOCEEOnS Arranged by A. H. Pease. 
Ae rAMMISE SIS fs cae eect cee cas ss ceicesaecs aise 2o0nceiee .....Schumann 
5. Anvil Chorus, Il ates Dararatolciaratete! atalatmtni pier e/oiat ke stata aeie teint Verdi. VOCAL. 
Seb Hestnppy MaArMers. i cicecccs! ccsciccpclcemabietencis selene Schumann. 86> LetiMe: DreamlApam tos oe vaca os Soueod ete eesaeteeee Sullican 
7. L’Escarpolette, (swing song)........ss.ssse.ee- Bache Beet Fontaine. Sie. Vion) arid’) Eee does a ora oa © wa on wtuavelatnciawin aca oor Claribel. 
OPKeorsainens | Opunil8, No, 2. .<. «ce ceces cess sens cones Schubert. 88S Bameralda.) Gipsy Sanp5 3.2. svcissc oc geniene wit oteno< seer emacs Levey. 
9. Beautiful Blue Danube. Waltz..........20+. -scocccescs Strauss. O95 Hodkinp Back. (BODE: os aan dn << cwevececdueanoesneccaduead Sullivan. 
RiP oite CarAantel lea) ota tela cis teas « a's om! vote sia.= ='sisiaiweneiraterel= Heller. 40:, The Danube: River.) ‘Ballad........ <<: cmacecsscsecevecescasces Aida 
fi] Mazurka, (Opus!6, Nos te. .ccs ccc ene a0 Sale leis wets Gee comets Chopin. 41° Good NighigiFarcwell, Song: 2... .-angusaccaccwocs sin esc Kucken 
IRD yr eSS - 5 SSE Ce COnGABROC BO ODCCOnED DADS nO GULcneLoe Heller. 43:4 Sweets Ech Sele ona one a. 2000s eccaae ns sodewacdcmwieas se Work. 
Ae GcORSaIneNion CCUSIBOs INO. Ban cic0 cic cc's a'ece op o0\a cleien an cine Schubert. 43. Marjorie’s Almanac. Ballad............... Charlotte Sainton Dolby. 
SE Ace Tas PES TITIG LEGA V IHD Sletwioin) otis a'ela’otals ale) aists, «1a/s[n ata’alWiopeom alt yeis\eiatare Egghard. 44, The Mandolin. Serenade......... .... ae ckace ne citeene ee Connolly. 
Demis yey Vee SATUS. . ale nls ai>/o\cinlsleaicict ain aleia cie'sie\s cisin'sleinle ius ols Mason 45. Little Bo-Peep. Rest Sin 
16. Don Juan (La ci darem), Arranged by Ketitterer............. Mozart. 46. The King of France. t 5 eek 
idee GEIB ELON SOUTERCEL..51a\a51o1o/nm'steln'e oie cje)ssiv'«)s\v.ccivicisisine's «== Schubert, 47. Jack and Jill. ree 
18. Les Deux Anges. Arranged by Berg............+....05 Blumenthal. 48. Three Children Sliding. ' 
19. Thunder and Lightning Polka. .............0eeeeeeeeeeee> Strauss. 49. My Lady Wind “ “ 
be erommnen as OPUS Oia NOL nc. ne acee sat cous cass canbene Schubert. 50. The'Storm: Dexcriptive Song... 205 soc.es acdc wcacdancess Hullah. 
21. La Fille de Madame D’Angot. Arranged by Cramer.. ...... Lecocg. 51. Softly now the Light of Day. Quartette.......... ........ Weber. 
22. Faust (Old Men’s Chorusand March). Arranged 623, The Jewish Maiden.” "Samp. 5 5 os occ cn o eU saan ecck com eces Kucken. 
liar SRG ERGY) SIROTA Ons Se SB CeHe Ar SQ On CAD DSC OECACE OC A Oe Gounod. 53. Johnny Morgan. Song and Chorus...............c.seeeeee Read. 
PEG UNEEA MATCH 52,51. Suncins ciclo ciacisiscs occhicle's) Se ceescin a Schumann. G4, Thavkvy: Green... Song. .cdoskssg0dken te odectasccuupeease Russell. 
24. Fairy Polka..... An O0In BOC IGOR GCCC OCOD HOMOIOG COREE Spindler. 60: Nancy Dee. ‘Song and’ Chorum. 2. .o. 2 2ccsendeceseees Adams, 
Che IMRT Ss Sc. grcn SP eaceoucac - Goer Gy SESOCCOR ACCC EEDCe Rubenstein. 56. -Clochetie, — Ballad. 5.2. <- ...cue ace nesemen men = sn cenis -.--.- Molloy. 
26. Jolly Brothers’ Galop............eceees eter aibtita cleo a0 terme yate Budik. 6%." The Brook: ) Song. : <2 «<.. 5< oben sc oncom weedek sce ese teeweee Dolores. 
Dim BMHipH AG MGV: C4 KANGK. cr ctcss ag cc ecacss ccnsccevievcns Richards 58. Rocked in the Cradle of the Deep. Song................-- Knight. 
RR PMETIEEN Ee MERTON 3 syn Weslo ces ciaaic’ea oo ue SS.cb tees ee Mendelssohn. 59. Bethlehem. Shepherds’ Nativity Hymn.................. Gounod. 
29. La Belle Helene. Arranged by Godfrey.................- Offenbach. 60. Terzetto. Lift Thine Eyes. From Elijah............. Mendelssohn 
30. Fra Diavolo. Arranged by Krug.............0c.-eeeceecees Auber, 61; Rest. in: the) bord)! * Salosc.<.-.- wane = vuiied'e ect eee Mendelssohn, 
31, Little Hunting Song...... Reeaciee sce ceeds ciaee dss Schumann. Charades for Parlor Performance................ poorer H. L. Wait. 


4581394 


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SNITOIA NOLIVELS SHL LNOsy SLOV4 


(Der Fliegendse Wollanver. ) 


Arranged for the Piano, by ALBERTO HIMAN, Op: 60. 
Andante. (Jj =100.) 


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A Copyright, 1877, by C. M. Capy. 
The Flying Dutchman,—1. PA 2~, By ALBERTO HIMAN, SOUVENIR DE NINA, Price 40 cts. 


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SOPHIE’S BIRTHDAY WALTZ. Alberto Himan 


. Price 30 cts. 


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The Flying Dutehman.—5. THE MERRY MASKERS. (Two airs to be played at once by one performer.) Price 25 cts. 


Recollections of a Musie Box. 


CAPRICE. 
Thad a little music box vet of in mind the toy TI see, 
My favorite tunes did play ; Though long past from my view, 
My cruel friends they teased me 80, And one sweet air it played for me, 
L gave the box away. Lli try and play for you, 


WILLIE PAPE, 


Pianist to the Royal Family of England, 


Adagio. 


Allegretto. Right hand 8va. throughout. 


pp e staccato possibile, 
deux Ped. 


* The Soft Pedal to be kept down throughout the piece. 


Recollections of a Music Box.—2. 


Ped. 


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Reeollections of a Music Box.—3. 


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Recollections of a Music Box.—-4, 


Ped. 


* 


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& Ped. = gel Ped. 


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Recollections of a Music Box.—&, 


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Recollections of a Music Box.—6. 


IS 


LE 
(Air par le Roi Louis XIII) 


> 
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quasi arpa. 


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By permission of Root & Son’s Music Co 


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Moderato M. M. ¢ = 100. 


ROMANZE. 


Piu moto. 


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Anvil Chorus.—2, 


STRIDE LA VAMPA. 


Adagio espressivo. 


“2 °Te 


a. 
e° 
“= 


2 
2 


uy 
y 


3. 


Anvil Chorus.— 


on? a? 


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area 


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Anvil Chorus.—4, 


RMER. 


THE HAPPY FA 


Allegro con spirito. 


R. SCHUMANN. 


—- 


ct 


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sc 


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Tllustration. 


CH. FONTAINE. 


con grazia. 


Moderato. 


p sempre legato. 


pS 


\ 


fecal i 


Con espressione. 


f= Se 
=o) a a : ee Go 4: : 


L’escarpolette.—2. 


tempo e legato. 


elie 


v7 


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pac So i 

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tempo. 


L’escarpolette.—3. 


SCHUBERT, 


a 
Lx] 
WN 
= 
: : 7) 
‘Tl | mwiN 1 
4 2) aa | ital 
Tee il preg : A 
“' ete | ein » | = 
nae | | let —. 
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BINT fy HA S48 fe 
“Tee i : 
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Valen ¥ mie” 
Shs | at Wit & sf 
(45 an 1 im is : & 
Terk y ney A | 
fod | | | aa AS AF | 3 
aE am | 1e! eh 5 
fe BF Ge 
OER o™ 


Op. 314. 


NNN 


AUSS. 


JOHANN STR 


(AN DER SCHONEN BLAUEN DONAU.) 


Introduction, 


_ Andantino. 


Danube Waltz.—2, 


ia a 


Z 


a 


Danube Waltz.—3. 


Danube Waltz.—4. 


Danube Waltz —5. 


Danube Waltz.—6é, 


q ffeil 


$1 [Jet 
$44. 


Danube Waltz.—7. 


STEPHEN HELLER. 


PRTTTEK TARANTELLE. 


Vivace. 


Opus 46. 


te 
re | ely 
i el 
\s eit 
eae er 
La 
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Ji Asay 
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e rT > Mt 
S sain te 
< tN 
ae —=—— ———— 


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a. | i . | ie & 
\ \ 4 lug. $1 / | {f ice ‘ 
iil sHill pare 
ak we LET [eee 
ax: | | aA | ant | | | ane | | 3 
HED GN Eh 


URKA. 


M A Z 


F Sharp Minor, 


F, CHOPIN, Op. 6. 


(MM. J = 182.) 


- 
Es 


Sra 


a 
cE 
= 


2 


a tempo. 
Ped. 


st, 


tt 


| 


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i i=, 
a 


)) 


Ke K# Ko XK 


a 
e-*-6- 


Kf Ko X# Xe 


é 


a 
o 


y 


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d 


hE= x 


Xo 
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Mazurka—Chopin’s.—2?. 


« 
E 


Cs 


K# K 


Ke Xe KH K 
a ee 4 


qa 
x 


4 


2 
ys 
alt es ‘z ‘= AZ 
o ° 4 


> 


riten. 


a tempo. 


Maszurka—Chopin’s.—3. 


SONG. 


9 | 


PRING 


STEPHEN HELLER. 


22: 
iP 


—————— 


“pi 


| 


7 a 
i= = 


e 


ar ae 


Bae 


2 
—~. 


Spring Song. 


SCHUBERT. 


ECOSSAISEN. 


HT bs Ite 
ae 
ILL 
Nilte Mt 
itt 
| | |: 
Mica 


2 Pf Es. 


NV Ae Lea: 


JULES EGGHARD. 


—— 


La Brunette Valse.—?. 


SBAIW WOW, NAINISS A PIL, 


Melody by Dr. Lowell Mason. DUOS. WM. MASON. Opus 26. 
Moderato. Staccato e leggierissimo. SECONDO. 
—__a __s es ret 
jo FS = EE 
\4-4-02t-0o-8 of eet tol ee 
i Playfully. 


By permission of W. A. POND & OO. 


DAISY IDWid, NARS A way, 


Melody by Dr. Lowell Mason. DUOS. WM. MASON. Opus 26. 
PRIMO. 
QVA POS POO SIL OLLI LLL OIL ILI DDL LOL LLL LOL LOL LOL LE LELL DDL LLL LLL LLL LOLS OLLPLL DDL ODD OP SOLD ODD 
Moderato. 


zoo a 
ce 
% Playfully. 


A 2 J ae 
o @ r) a so e 


+) 
R 
~~ 


* The left hand of the “primo” player crosses over the right hand of the ‘“‘secondo” player where the Bass clef occurs. 


[ Ee 
@ 


eos oe 
dim e rall. 


“ 


ASA 


-<e—e—* 


m.d.m.g. 


Opera de Mozart. E, KETTERER, Op. 191. 


a 
® th 
1 q 
is BL WA i 
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2 (2 dau = 
oii . 
qe 
| 4 
ea ive | ab —~ 
Ons |b I 
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e as as 4] 
Ags A a 


—._ 
3 


oe 
— 


Le—™ 
te ese te 


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‘—f#e.,0 # 


Don Juan,.—2. 


N 


oet ot 


> 


22ttee oe 


Brioso. 


eS 


0-0-0-0-8- \qOnOg0g0aFn?- 


ee ee ae panes = aes ae a 


re ie 
te. 


@eea, 
22020 


“ 


> 
aa a 


> 
al 


eo 


—_ —_ &s—— 
@_@ 0 0 2 9 9 


Don Juan,—8. 


SCHUBERT. 


ECOSSAISEN. Opus 18. 


# 


8 
Varied by ALBERT W. BERG. 


! = 


eS SS 
—- AEE = 

1 ; : i ag - 
gtb6go" 4 
<= ye 


Ss oe 
oa 


=a 


LES DEUX ANGES 


(BLUMENTHAL.) 


Andante. 


l | 
ini Ss] 
TRIER = nak 
By @ yt 
| rl [ell 
i pow || tre Girl . 
|| wic| ae 7 
rela SN ee GSE 
fT 
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Ail E A | la TW alt! Th feu = 
HT || TT Rw Hf a “\ ve 
tees > {rie co er 7 (a. | 
| | BMT Vb | or iy 
A a i 
=| | Hie a 
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= 
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= 
a 


* By permission of 8, Brainard’s Sons. 


a 
= aa 
ere ter fervg toe 
ee 
eee wows 


Fs Tere lll \ 
NNN Ith hie : | ni ~ 

eu | by I 
Wh | 89 | 
HRA dd) ttt 4 
“ree St Ht r | | if 
eA ve 
I ae it = 


Allegretto. 


= 


SE 


Les Deux Anges.—?. 


+ 
ee. 
Ds 


FINALE. 
* 


SSS 


ae p 
e-2 


iti = 


= 
as 
oe 


p 


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ae 


rE 


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4 
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y 
MJ. 


See oes 
et onl Ge 


= 


e =e 
= 


Lee Deuzw Anges.—3. 


@ 


QV 


® 


NI 


(UNTER DONNER UND BLITZ.) 


FAST POLKA. 


JOHAN STRAUSS, Op. 324. 


Introduction. 


oo 6-6} 


ee 


\@—e-- 


eo6-¢@ 


ik WA 
——————— 


eo 


zz 
, =p_5 92 - 


Thunder and Lightning.—2. 


pe 


44 


He. 


} || 
Ley 
4 ie! 


Thunder and Lightning.—3. 


—o-@—@|- 


o-@ 
es | 


o6 ie e— 


eo 
—_— 


o—o— ees 


=e 


7 


Thunder and Lightning.—4. 


Li) pee 


tte 


Thunder and Lightning.—6. 


SCHUBERT. 


CRAMER. 


OUVERTURE. 


LA FILLE DE MADAME ANGOT, 


Allegro moderato. 


-+-¥—g——. 


-@—+---= 
a 
oe 


Ou7 


== _ 
{—, 
+? 
_—— 


° 
staccato. 


tr 


“JE VOUS DOIS TOUT MOI L’ENFANT DE LA HALLE.” 


ROMANCE. 


Andante non troppo lento. 


poco piu animato. 


rall. 


creés. 


“BRAS DESSUS, BRAS DESSUS.” 


CHEUR. 


Allegro. 


| 


—_ 


La Fille de Madame Angot.—2. 


o 
= 


! 


2- 


FT 


ie 
_- 


cd 


0 


a. 
any et 


=> 
, 


@ 

4 
o-i- 
=f 


—6- 
Sara 
_@ 


“MAROHANDE DE MAREE, POUR CENT MILLE RAISONS.” 


i 
——j——}_—_4— 


Ee 
. 


—_—_ 


LEGENDE DE LA MERE ANGOT. 


Allegro. 


——_ 


A tempo. 
tres leger. 


-g2¢2. . 
ee ae 


La Fille de Madame Angot.—3, 


ee Sars 
— = _ = 

_@-¢@ 2 neers 

Ot oe = 
poco rit. 

_ 

(A. 
SS 


P 
ks 
2 


| 


rail. 


piu rit. 


“ELLE EST TELLEMENT INNOCENTS.” 


ROMANCE. 


Andante. 
P legato. 


morendo. 


poco rall. 


A tempo. 


rall. 


La Fille de Madame Angot.—4, 


, NON JAMAIS.” 


“Ag! An! LES PORTES CLOSES 


a i 
ae 


E Pa 


| 

an | lal 

lll | Uy 

a. Som a al. 
* || 

“4 || lil 
i pad 7 AN 

= sil = i 

A Ay 
Pep IGN 


ct 


Le Fille de Ma 


dame Angot.—é. 


CHANSON POLITIQUE. 


marcato. 


ritenuto. dim. 


—— 
—__ 
=o =a 
th 


o— | |. 


6- 


o 578546 2 


ee eee 
a 
af 


t Eg 
e 


“QUAND ON CONSPIRE.” 


CHEUR DES CONSPIRATEURS. 


_S—_—lce 


La Fille de Madame Angot.—6. 


PONENT EN 

oS 
== 
tenuto 


Pts A 


3 SE uw 


’ 


a 
—*| 

rT i ee So 
f 


— 


* 


Feb 
Eatee 


be 
He 
— Se SEE t 


fe 


Pe eee 
if 


| 8 
fem 
Fall Wa | 
deans 
Sd TS 
| 


La Fille de Madame Angot.—7, 


S$ 

s 

3S 

= 

J 

a 

S 

— 

3 Tiieeb: oe 

& | Tepe Ti 

Biel nite & || ‘ 

att och 
Ext | Ac. 

Atte | | tf 


we FS 
ee 
D8 
» 


NE 


~~ $]eai | 
|| aw||| 
‘ lalate pe 
SME | NE 
eh GN 
—S 


i 


Snorer err err ore 


= = 


=e 
La Fille de Madame Angot.—8, 


+8 


: 
at 


z 
é 


5: 


“AH, C'EST DONC TOI, MADAME BARRAS.” 


COUPLET DE LA DISPUTE. 


La Fille de Madame Angot.—9. 


A tempo. 


poco rall. 


ee 
_———j— 


"2 


| la 

qe 
So q. dit 
ee qq iel 
oye qe. 

moo q sie 
sel) Aq) gL 
18 Re al! 
a 4 “| 
hi hekte 
ry ql ls LL 
xe wu L| 
eee! | qi iat 
que. 


Btds nr crrccccorccs coo coe 
. 
° e 


La Fille de Madame Angot.—10. 


SIDNEY SMITH. Op. 117. 


leggiero. 
4 


ena 

a 

el \ 

el 

0 

ose: | TSTT 

AE ath 
Hi TTT 

oA 

el 

ell J 

Liiw\ ee 

a Li il 

j@@in dleen 
wt tie 
i! | | 

ae! 4 [aa 

«sl 3 | 

wal. “Tl ietth 

alls Till. 

Leh | ent © 

S| ies 
| Ler! laste | 

ehh th 


| 


& 
ef oe 


o- 
ae 


be 


= 


ve 
o—— 


* oe 
Sb 
a. 
-of- 


ra 


— ee 
=a es 


a1) Bd 


“ - ip 
a 


re 


Ig 


x5 


ar 


—_—_ee 


b-8 
p— 


e 


f 


—s 
ead 
—_ 


Ped. 


| 

J 
a 

& 


b 


ty al 
wate 
[ne PRs 
AL ab ial 
Wh dle we || (4 
Peas a 
ae inst 
ery Be 


Oy il 
—luve yee 
| ° 
= H| hil | 
“il [AP eal] 
+ “ ail 
=i Hse | a 
[ial 
ag (t 
m\iii) ir ve ltt 
ott» i iM 
Bal | ¢ . i. 
ell tl 
bits | >F Men | 
mull all omy 
—wipee || dae enn 
- ar | TIN 
| ‘| 
i ‘| 
iN ail 


| 
Latte 


( 


Svuarerrer cer cer err rrr rrr 


Bak yeu, 


a 


Se 
s 


| oe 
v_e 


ayaa eq 
Best | 
ite 4894 it Ll nit 
7 a 
Te ow | IR 
nT 
od¢ lil | WL 
Wt TL 
ell] 
(id ue 
a are mare 
Hie, [eal 


| 


Faust.—3. 


SOLDIER'S MARCH. 


Quick and loud. 


vil 


G2\ 


-~ 


SPINDLER. 


F. 


Opus 93. 


Fairy Polka.—2. 


WEHLODY. 


ANTON RUBINSTEIN. 


. 
ee 
— 

o— 


pad 
== — 
o 
o— — 


ie 


apg 
—s 
— 3 
te 
| 
5 a 
P 


a 


a 


stringendo 
Tempo primo. 


ote -g— 
tse te te 
= eS Sa 

oe oooma| — 


Q. 


F. BUDIK. Op. 10. 


— 
SS 
—|-#-6-*_5- 
seer 3s 

a ie 


tS GAL 


Dl 


a=] 
2 


= 


ly 


P 


(BRUDER LUSTIG) 


JOLLY 


GALOP. 


ooo, o— 
vests s 
= i 


= 
_ @ 


Gs 


' 


> 
ss 


2. ENDING. 


1. TRIO. 


zz 
ro 


Joss Sa — —| 


é 


Jolly Brothers Galop.—2. 


Jolly Brothers Galop.—3 


WARBLINGS AT EVE, 


SECONDO. 


BRINLEY RICHARDS. 


Andantino. — 


cres. 


WARBLINGS AT EVE, 


PRIMO. BRINLEY RICHARDS. 


Svarer rrr cee rrr corer 


SF tt i a a aa 


_— > 
ee aE aw. eee ee. 


So= 


Svar rr csr rrr corr errr rccre POEL LIE LILI L ILL OIL DDL OLDS OPP OOO OOP COC OOo ooo 


eo ee = 
Fa 


SECONDO. 


Warbling at Eve.—3. 


Sn. recccccr PLL ILE PLP LI IID PLPD-~PPPP-P~PDP-~B~B-LP~P-P-P-D- PP P-P-P- PPP PDPL-PP EOL DO PDD LOO LO OPP DOL OO OOO ooo. 


o— s-— s so ys 
_—— ot —_- eo » 2 a a 

fa a — £+— ss 
—— +—— 


Ee 2 2 2 2 2 


SSyastea 


Warbling at Eve.—4. 


SECONDO. 


oe ee Ae 
= = SS ai —_— Se 


—— 


4 4 $$ ]———_——jI_ —————_ 
2 a2 ze — Ys _~ o 
A tempo. i eel = - a 
Ped. x 


ie 3 a 


Warbling at Eve.—5. 


© pf -e_* = 
sae eee ote! 
e 


= 2—— 8 


a. 
poe< @, = re 
at ae : 
9) pp a ee d. 


Warblings at Eve.—6. 


MAR Ci. 


DREAM.) 


Ne 


(MIDSUMMER NIGHT'S 


WEDDI 


MENDELSSOHN. 


Allegro vivace. 


Wedding March.—2. 


ge t& 
— 
_—_—_— ooo 


oh 


"te te; 


Pay wt 
” 


4 
tT 


Wedding March.—3,. 


\ | | aii 
—lwer a! | 
a. 4 
| 
~T@ B® @/ | i@_ 
4 | | 
Ly)" % eae Al 
| 5 aa 4 
elele = eee 
| SST TT 
mee) §& a | 
| 
ul 


| 

_o 

@ 
cen 


| eae 
| |e ' 1 | 
ol 
| | aq 
Jel A ae j 
I Be eee 
“Tue ' eae 
+h) | i 
||| ace | | 
lier § =I 
halt 5 ee d 
sah 
| 5 ~ 
SS 


a 
Oo 


aE: 


ia 
TeTTR ae 
ea | 
clr aie 
ails | 
i ® ea L |. 
| ali 
ae ry tal 


fis Sp ses 
mat gee 
Ai eH 
is 
rs: it r 
Ait ater 
| 


| 


rel | 
| Nyy: 
Nie xt 
| fess 
= ae 


=e 


ate 


= 


Be 


Ne oa 


Wedding March.—4. 


» ; > 
a di 
TRE 1 
ag 3 | 
Si a he 
Lie ara | ne ns 
fh faut sa hon STA 
* oe 
tae 3 : 
el ae il i 
mT EI 3 
AL i el Nt ier pall 
i | err) se fy ST so aad 
- ; WEL seer woh 
: iireil | 
; a4 
a a i Sire 
han lal a7 tie 
i 
Tre $ [ile 
tt RS wo | 


GALOP. 


\ 


LENE 


E 


LA BELLE H 


Composed by OFFENBACH. 


GODFREY. 


Arranged by D. 


Introduction. 


-B- 


sos 
-9—\—-0-—_o— 


La Belle Helene.—2. 


La Belle Helene.—3. 


CODA. 


o-Te- 


#_@_@_} 


eee! 


{ 
Tis 
Wes 
eds ar 
| i | 
at us . atl 
LTT 
4. i Cry 
wlll, , i 
ot eve 
e || UY | 
a i eval! 
ctl | aha 
el) ! || | 
ry it ave 
An] eT | 
¢ i tl 
wt TTT 
8 | evel! 
cn Ul 
el || 
(<I dala 
a | | 
ei dd) § gees 
ae | 
Aq tui 
©. i qa a| | 
a | | 
e | dale 
a. ' 
ef ga 
ett ‘ 
i “ 
ia | | 
, MH 5 ¢e 
AN: 1 | SME 
PEP aN | 


La Belle Helene.—4. 


La Belle Helene.—5. 


VOLO. 


FRA DI 


D. KRUG. Op. 123. 


t 


,-g 0 6 


—s 
ce 


it 
im) ap 
te 
k iar 
te | 
® Qa! 
+, il 
Th Py 
te) {II 
Th il 
o 
T a . ee 
Ba —F A) 
eal 
neh __Th 


ritenuto. 


| 
| 
: 


= 


¥ 


= a 
at 


a 
| 
] | 


a —§ 
aes Bs 
a J 


o- 
> 


dim. 


ees eerie 
reid tee Je Je Je ee 
LL = —a 
Ped. * 


pa *——— a ore oy 
Se ee eee 
ee 
ee te Ti 
2 2 @ 2 |, 98 a8 aS pt eto t\h 
-e -§-$-6'-8-9-Per*e*e*g tet ee 
; iz i a 


ees =e 


fh | 
| | 
al 
i et 
aya 
z H “i 
at erin 
QL! “a 


a 


| 

. Che 
mk AA 2) | 
Aud WAN fig ie at 
Lid sual NEY alll 
2 or Wi cin 
Teh ay | “Tha, ee: 


Fra Diavolo.—3, 


i ql! | 
al |} a 
ela. tN 
sh tlt 
ole, “q LA 
Hig tl a! 

aiall 


= 

is oe 

a SSE 
+ 

-s- 

6,07 


Sl a 


m 
| 


| 
| 
Te 
+l | 
|| 
||» 
el 
a 


= 
4 


a eee 
+++ 4 

Og = 
-O-g I 


—_ 
—0|-% 
8. 


cre: 


a 


& 
pis 


if 


a 
7S 


2 
ae 
= 

== 
2 


molto. 


——8— 


. Fra Diavolo,—4, 


G SONG, 


(JZEGERLIEDCHEN, 


LITTLE HUNTIN 


) 


SCHUMANN. 


Brisk and joyful. 


oS 
—p- | 


ee Gk ae o8 


| 
“lh 
i 
ie Exe 
| . . TR «| 
he fH 
| £ \ 
eh Gul 
“| ef | 
isla 


re 


be dS a a 


= 


* 

© 
=) 
cos) 
Fi 
cs 


A. W. BERG. 


Andantino. 


2 


Cantabile. 


(Mignon’s Song.) 


Andante. 


saa: 


=e 
= 


Ped. 


* 
* By permission of Wm. A. Pond & Co, 


= 


(La Titania.) 


elo EE 
= 
=o 


= a _— 


Pull 
vil *. i 
( OL : ) 
aa ! 
\ “I i I y el 
Be eoail)  Taa ee 
>| — 
: | rT t | | 
5 | }1@ geo! || 1 Jo @L : 
= l qu] wal) vt 
s | il Hage my 
5 ot Ye ll qeel!! 78 
js ny gaa! i 
E Me i | i lal wt) 
3 “n) | & {ii Ty 
it a te fi 
Puen _EN Fan 2 lon 
SE 


BVA POO PPI LS PIL LLL ODL LID DLL DLL LLL DOS 


mamma ame aan aaa eee eeeeeeeeee 


= 
=z 
eae 


Le 
Ze. 
— oo es 


5a 


Mignon—3. 


6 


Tm 1 Ha : 
Ty tt ty 
TR qae! | 
I me PADD Is +$. 
ee 
yell eee ee 
4!) qeaaiii al 
Nisa (1 ail : 
37 ae Pag in | 
; (1 gfe. 
el! | @l 
(% Sle ii 
; @l 
{st | et | 
(a 
Soh i : 
TT, aad! | | | 
elit | 
| Ygol | | 
eh, |! 
| ae | dea! | 
ran | 
Lt i i | cui qeell) | 
(| +H (a eer 
SH iT | BT ALT SB 


Mignon—4. 


3 

} 

| t 

aH ealllll 

| ‘sll qe.a) || 

said gael ll. 

Wi 

3 \ sy qaei | 

Nit tl 

a Sal 
= a 


ya 


ia 


ae 
owe 
oe 


o 
—T . ss @ 
= See 
—— — o 
=o I 


a 
2 
¥ 


nae 
pete? 


\ 
N 


— oze-& 
s= 


—— Ops 


@ 
=I —O-y 


z) 


Mignon—5. 


SCHUMANN. Op. 15. 


Y. 


OURLOUS STOR 


th TT 
fem Tes 
Nth ae 
nt ih? 
s | 
Ut {II hii 
figs vith | 
(oy 
| | , 
ea a q ' 
my Til ite | eae , 
{ieee ia avi te at Une 
OUR A] pae wot Ry 
e ict ara ~ 
| i fi [>| 


ee. 

( | 
me Mi 
slid ve s 

] 

j7=* ry 
f Pa ss | 
(TT® » eel) 
"it DH) 
ant a 
2 IT)! | 


“GIROFLE-GIROFLA” LANCIERS. 


(Opera by Lecoque.) 


Arranged by CLAUDE. 


Allegro. g * yes 
. . . . . YS . . * . . 
Fe eae 3 ote # gt- gt: 
a eee et hO6U+ + Ot +e 


a. aa 


* By permission of A. G. Slade & Co, 


=: 
j 
= 


—#—F- ae 


ae 
—_ 
Js: 


@ 

} i 

—_—|— 
be 
pl 

Pmala 

are ae 

__ 


o 
aS 


=* 


+o. 


@—e- 
=e 
ie es 
S23 
i 


Vivace. 


Girofle-Girofla.—3. 


— 


7 —— 
—o—_—-0——-|- 


INTRODUZIONE. 


Girofle-Girofla.—4. 


8varer ror cor corr rrr 


Roger cor corr coroner 


f 
=e 
— eee 


z= 


ie=| 
oO 
(=| 
= 
=| 


SSE 


QO LE LD PDE DLE DLL DIO OLE DLO LLL ODL ODL ODL OCLC OPT 
. 
} 


6 


—_——!I_ 


aes 


* 
=a | SS 


sd 


stale 


tL 
ek wane! 
aoa 
ea.ie eel 

ee @) | | 

“$j te ce 

ear ve 

q| J eae | 


Girofie-Girofia.—s. 


Lk, 


A 


i 
V@ 


F 


<i 
a 
Ai 


van BEETHOVEN. 


L. 


Allegro assai. 


a 


=e 


jem | 
o_o 
4 


== 


Sonata Facile.—2. 


Pas 


9-o ys 


a_e, 
oe i 


ie 
” 


= 


Sonata Facile. 


“Be 


0 


P 
oe 


libitum. 


a 

Se see 
ad 

dire 


Zein ett 
e| e 
“HL 

=e tL ¢ 
tH 
-@. 1 ea 
ma naa 
=@// Quit 
Ute | F 


uy be I ae 
HA ad 
Ae Uh 
iNT Jal) 
NI Saed 

i ni 

jet 

38 ae 
mt | 
ae rae 
Guat | (Ul 
CN | 

SS _— 


ree oD 


Sonata Facile,—4. 


LET ME DREAM AGAIN. 


Andante espressivo. 


———a 
i ae 


5 ; zm Pens Ee 
ae ee eee (iniee ol Pe A a = 
1. The sun is set- ting, and the hour is sate Once more I stand be-side the 

2, The clock is strik-ing in the bel - fry tower, And warns us of the ev-er 

= rat —— aan ra 

iS aa ta Eee | fae See 

=] z —s-8— 8 = $ — 

— +e +o + 
+e eo 
= ae — 
(aie ee ra == by eae 
po . Ya . 

eee 

wick ~ - et ate, The bells are ring - « out 2 ae dy - - ing day, The 

- fleet - - ing hou, But nei - ther heeds the time which on - - ward ae: For 
ee Nees ea wee Le I “a BE I a aes es ze 
aS a eS a | ‘eer ES St — Soe oS = — see 
we -a% ss -g9-g> -g% sss 
ee ee ee ee a ee ee) es Rae ES 
9 at — i = ae = EL 

ce 
cres. 
=a 
—f— — 
chil - dren singing on their home - war way, And he is whisp’ring words of 


time may pass a - - way but love a - -  bides. . I feel his kiss-es on my 


raul, un poco piu lento. 


——_— 8 =—— 14 
a ems a eT z bee ~ as ~~ —s |__ Seaeay 
Ste le 
sweet....in - tent, While I half doubting, whis - per a con- sent. 
fe - - verd brow, If wemust part,.. ah! whyshouldit be now? 
s ans) eer 
a ee pe thee a 
a= a ag ee Ser Ba See pe ige 76 pet 8 8250507 58,8- 
= — 645-2 -g@-9 a amd P@-\-a—a = —F——- A 
a See P emer 
dim. 
- 2 ee es a e—|4 — ae 
20 ae ae Sr es ee ae ea ———_— 
ines oer > ae eee | eee ew 
| | 
y PP BI eel 
Si a =a Saree in. Ease Pit-ets reas aE Sr 
Ate Paez JS et ec a 9 C] = iE === = 2-9 t 
= = + — i i Tes aa -—-—— — 


Is_ this a dream? then wak - ing would be pain, Oh! do not wake me, 


5 Pd A i : u t ee SSeS __ nee SS Sosa == ee 
A “toe seeee g $5858 252 —— 3-3 2 8 _|-0,058,0,85%5|_8 8 70-0 8 | se 20 ee 

f eee | 658268 o2 pa. a = ©6529 99959%929| 9 8 TOF E | tan eee 
BBS 8 eeseererere’| $32 38 -|-cte%e’stee| £8 coe o | sec c ey 


4 o--* a a o——- 
ils cae oa — |-p—s— ° ——= 
"fF a5 = 
—_— —_— 
zs i 
cres. cres. 
| ' 
ral a See) as ee == aN SA. 
—p— 6-.—6—|-@ *-,—|-a--—_ p90 —o-|- 2 —*- 
ole, — tb - a = - E 
medream a - gain. Is this a dream? then wak- ing would be pain, 
eS le, 
eS 
= =a 
O20 0--2- 
6 BOO oD 


appassionato ad lib. 


a a 
J) SS Soo 2 SR Se ee ee eo Sere a 2 2) SST SE Saaweae = | 
r i =X @ o SN ! = 
a 7] |S al a) ESS BNE = A 
é a a a a 
= ~ 
Oh! do not wake me, do not wake me, let me dreama - = gain. 
2) ay. Le a A SR (Sra 
== Eee om Ger ees a 
= gas = 8 o-—e nal 
rae Fat 9? 02-6? 6° 92 ae a may ers 
{ | i | | ‘ u | _— 
f ff* 
Sa 2 ee (Oy @s@~> = - 3 
2. lesenae aaa 
= =a oS Se eS -@ 


Let me dream again.—-2. 


“YOU AND £.” 


Words and Music by CLARIBEL, 


-, i, 


1. We sat by theriv -er, you and I! In the sweet sum -mer timelong a - go.... So 
--> = oe ee eo =o —_ : = — : 
& | | | Ses ea 
ate Pa ae a eee ee Tee 
ay Se I aD SR ERT EMME AT a a =a ar a a 
ee C2 C2 = 2 (2 —— 
‘aD (See = ae Se Ee Lae ae 
eo, | 2 Fae Serer ae 4 ee 
——— ee ee See 
Slee er ES # opens Seer eee ee 
| \ 
U 9 SSS ST a Rae ey ES ae ee yj 
a ————- 7 a a a = 
yo ve wi 7 eS REI JE 
smooth-ly the wa-ter glid-ded by, Mak-ing mu-sic in its tran -quil flow; We 


SS SS Seresie 


threw two  leaf-lets, you and I, To the riv-er as it wan-der’d on, And 
: eee Se 
: : ees SS 
———— ; by suaeeet aaa af ¢ i—¢¢ oe a 


left to And the oth -er float-ed for-wardall a - lone, 


die, 


one was rent and 


Oh! we were sad-den’d, you and TI! For we felt that our youth’sgolden dream 
ES = aaa SSS Es - 
ew pa es H } | 
=! 2 a 7 Ca } o 7 
7 SS SS SS SS ae ie ee 
ov -o+ 6 oo F 
7 C7 
pet et oY 5 
os ee 
5 = 5 5 fy ee SS (eas = 
Zz iia SS ESS B= 
f 
fN 
f\ 
(ASV Ea pera 7 == 5 ia 
fade, and our lives be sev-er’d soon, As the two leaves were part-ed in the stream ! 


“_¢@¢g<6,* 


hs — he 
si3 3 
I 


And I envy the calm and happy life 
Of the river, as it sings and flows along ; 


2 ’Tis years since we parted, you and I! 
In the sweet summer time long ago, 


And I smile as I pass the river by, 

And I gaze into the shadow depths below. 
I look on the grass and bending reeds, 

And | listen to the soothing song, 


For 0h! how its song brings back to me 
The shade of our youth’s golden dream ! 
In the days ere we parted, you and I, 
As the two leaves were parted in the streain , 


ESMERALDA. 


Written by ANDREW HALLIDAY, Esq. Composed by W. C. LEVEY. 


1, Where is the lit- tle Gipsy’s home? Un - der thespreading greenwood tree, Where-ev -  - er she may 
3, Oh leaveher like the bird to sing, To sing.... on ev’-ry treeand bow’r, Oh leave her like the 


dolce 
y vy me SSS) ee Se eee Ss. a 
v FS es Zee Ee a P= 25 Bee Sa ae. 
Nas Sec ees a = a an ae ws ee ee See -—_} —_ 
AS 2 Ban. ee Se ee Ei ee > ee 2 Pe re " 
e ‘ 
roam, Where-e’er that tree may be,..... koaming the wide world o’er, Cross - ing the 
bee, To flit from flow’r to flow’r,. . Roaming the wide world o’er, Cross - ing the 


deep blue sea, She finds on ey’-ry shore, A home a-mong the free, She finds on ev’-ry 
deep blue sea, She finds on ey’-ry shore, A home a-mong the free, She finds on ey’-ry 


sempre Cres. Tall. ————_ 
Jo a pre | 


- > 
= ets =< a 
@y = ee ae 2 eee ee 2 een! LHe ol Sener eee 


shore, A home among the free, Ah!........ Voi - la, La Gi-ta - na, Voi- 
shore, A home among the free, Ah!........ Yori - fa, La Gi-ta - na, Voi- 
-0-9-9-0-0-0- eee Se See 

Spaevelsp overs (bites e = 

sESrrrared Ms =aSsf)_o== Sas b = 

'a- 
8S. 23 i rall. a Tf es 

a a ese os 

+ ies ae a ———H SSes = ers. 

-@ , | eS Hi f—l = aoe —a - 

= ESS pavatet= te = == BS 

a = -— éd. * 

Ped. * 


Es - me-ral-da, Es - me-ral-da, Es - me-ral-da, Zin-ga - ra,.... 


Gi - ta na, Es - me-ral-da, Es - me-ral-da, Es - me-ral-da, Zin-ga - ra,.... 


na, Voi - la, 
na,  VYoi- la, 


Es - me-ral-da, Es - me-ral-da, 
Es - me-ral-da, Es - me-ral-da, 


[7 2d time. 


Es-me-ral-da, Zin-ga-ra Mb. dies cc's ee'e ce cepie <s c'tvec.sin vicle s.c\ eletelelelete ta tale stsse'l telat ig tvanta ental alate ae 
Es-me-ral-da, Zin-ga-ra 


a 7 
os 
a 


2. The Gip - sy.... is like the bird,.. A bird..thatsingsin 


0 J a _ 

a : San eee ee ee ee > 

Gy. SS a —— 5S SSS ie we ae ee 
tree and bow’r, The Gip- sy is like the bee,.... The bee that flitsfrom flow’rto flow’r...... She 


5 [Of | = [a ee) 
(2 am act lw a ee Fe ee ee nd es ee Ee Se ES ee ee 
CY a |< y | id rete a —_e 1 | 1] _§ Pat | 


> can amore. 
=e 4 
“|-es — a 
loves... thesun and sky........... She loves.... the song and dance,....... he groves.. of sun-ny 


Spain, The plains of La Belle France.... La Belle France, La Voi - la, Gi - ta- 
colla voce. cres. £2. 
r ~~ ey 
=e = —# = a — EES — =S = — we 
=a = | sau pati : a 
st -e—-| -—ba — S$ 
~ = o~ _ Se Le tempo. SS 
; oe 2 F o 
ere I _leggiero. oe enon sos 
a | =a a ee 
BOS : = 


La Zin-ga - ra, La Voi - la, Gi- ta - na, Zin-ga- ra. 


eres Pe one 
ype EEF ae Seeudd aes 


*& Ped. * ey 


Esameralda,—4. 


DOOKING BACK. 


Words by LOUISA GRAY. Music by ARTHUR S. SULLIVAN. 


heard a voice long years a - go, A voice so wondrous sweet and’ low, That 


2, But ere our sum - mer pass’ a- way, That gen - tle voice washush’d for aye, ] 


F = a aes 
= =e = —— 
‘es See SS ee eee 


A: 
trembling tears un - bid-den rose From the depths of love's re - -  pose.......... It 
watch’d my love's last smile, and knew,...... How well the an-gels loved her LOO: :\otetorestaretars Then 


ty = — =) . 
ed thro’ my dreams at night, And made the dark-est day seem _ bright, 
- lent but with blind - ing tears, I gathered all the love of 


whispered to my heart, “My 
laid it with my dream of 


love,” 


And nest-ling there, for- got to 
Where all I loved slept white and 


rove, 
cold, 


old, 


me years & - £0,....... 


Looking Back.—2. 4 


that lov'd me years a - 
> 
> 


o~ 


Wishi® OAMV Bia Wey wig. 


HAMILTON AIDE. 


Tempo di Mazurka. 
> 


you re - call that 
2, Our boat kept meas - ure 


night in June, Up - on the Dan-ube _ riv- er? We 


lis - ten’d to a 
with its oar, The mu - sic rose in snatches, From peas-ants danc - - ing 
- E ! > e = 


Lind - ler tune, We watch’d the moon-beams quiv - er. I oft since then have 
on the shore, With  boist’ - rous songs and eatch - es. I know not why that 


original time. 


watch’d the moon, But ney-er, love, Oh! nev-er, ney-er, } for - get 
Lind - ler rang Thro’ all my soul, but ney-er, ney-er, yF for - get 
= 


= 


night in June, xs - on the Dan - ube riv - er, Can I for - get that 
songs they sang Up - on the Dan-ube  riv- er, Can I for - get the 


5 2 Se Se 
= 


niglit in June, Up - on the Dan-ube _ riv-er, Can 


i I for-get that night in June, Up- 
songs they sang, Up - on the Dan- ube riy-er, Can I for-get the songs they sang, Up - 
-~ 


=a 


SS SSS Se == 

== = = —— a ; 
- on the I an? - ube riv-er, Can I for-get that night in June, Up-on _ the Dan-ube riv-er, 
- on the Dan - ube riv-er, Can I for-get the songs they sang, Up - on the Dan ube riv-er, 


epee eetateel 3 2225s tue Aatatet 


aaa ky l= Ss St at Jy eee $-SSs: oe v.6~ Lg —é-—s-8= 


‘Ss 
7 es meme 
D2 


Rie ati River.—2. 


COOD-NIGHT, FARR WELLE, 


F. KUCKEN. 


Con anima. 


fae: 
lems =e 
1. Good - night, fare - well my own true heart, A thou - sand times good - 


I ssee thy heart re - flect - ed lie, A star with - in the 


——— en —$——Tilt.p 
_ ye = SES, Bae | [—  —-— = 
———— = ee 
e ~_———— 
a MP Nee 5 os ee states = 2 Each thought of thee bids sor - - row part, And 
SEFCAM, .. <0 2 saper It shines forth from thy clear blue eye, And 


l Pressez. A 


+h a 
ren - - ders joy more bright. Though far, thy im - - age 
sheds.... o'er me its beam. And though no more than 

A . . - 
SS ee eS) eam seen aes =— = 
bp =e = ce =—==2 == 
@ oT! cy = pe = 
stace # 


sempre cres. cres. —$—_—_—_-—__ 


dwells with me, Thou art Myo eC idi—s INO) SAN mises see! are When oer me 
one bright glance, I ever Oi theeiy, pos’ = Sess dys jre.ar.< oc That look my 
— 
eisiereks A i 
are Soy ea a a a es A A = 
v za s at4 


fsP—h z wa z 317 
ae 
m 


sempre CT 


dark’ - ning clouds I see, Thy love guides me 
heart will = e’er en - trance And ren - der ev - ef 


over me dark’ - ning clouds I see, Thy love guides me a - far, 
look my _heart will = e’er en - trance, And ren - der ev - er blest. 
Ke 
ty ae a 
as 7 al 
(s7?—) — iad a5 : 
ASP. hes 2 SaaS 


P 'e d. * 12 ed. 
Good-night, Farewell.—3 


AN eee SRE Ta ap “A of 
=| = eae a 
— = o— o 
— ——" dim 
Fare t=. “wollives. > duiscuce my own true heart, A thou - sand 


ay 2. a za St Py =o & SSS | aan 

Se Ie is —_o-@-a-6-|_-6-6-2 

$-3-3-3-S-|- -@ 6€8668)|'8666666)| & 68 
sae: sessoeo SSSSs/Ssstss| sesss 3 aa 


Ped. cres. ——=—— rit. 
2203 ae ee’ = ff 
7s C7 ee t Pe A 2 =i 
7 Ty y D mr be ee a == 
—— 1 Jee V7 ea a Z 
4 is . <3 Vv 


times fare-well, Good - night, fare - well, my own true hearts: hoon fee 


Good-night, Farewell.—3. 


To my Sister Etta. 


—_—_—~ 


SWEET ECHO DELL, 


Three sons of a New England widow had long toiled in the Land of Gold, when this message reached them: ‘‘ Come and see your mother before she 
dies!” They started immediately, but while crossing the Sierra Nevada the youngest became ill, and in a few hours breathed his last. He was buried in a 
lovely spot, near the summit, The mother lived long enough to greet her surviving sons; but her mind wandered, and she never fully realized that Willie had 


gone before. 


Words and Music by HENRY C. WORK. 


No. 61. 


PIANO. 


Ages SS 
aes a SSS 


1. Three there 
2. Is_ he 
3. Com - ing 


were that left my cot; Two are here, and one is not ; Why = does 


la - den well with gold? Does he bring me wealth un - told? Why _ then 
home- ward, does he _ sing Like a lark up - on the wing? Why _ then 
nea 
—— [_— | — $+} —_—_} ——_ —_¥—_ 
o oe 


: 2 ee De ee 
canoer —— = 


i c/s 


Copyright, 1876, by 0. M. QADY. 


If preferred, the last half of each stanza may be sung oy another voice. 


Wil- lie lin-ger? Say, can you tell?” “He was wea-ry by the way; When we 
does he lin-ger? Say, can you tell?” “All his treas-ures are a - bove; All he 
does he lin-ger? Say, can you tell?” “Nanght is heard but rippling waves, War- bling 


NS Sanaa a i 
re poe 5 er See 
came he could but stay In the sha-dy grove at Sweet Ech - 0 Dell.” 


sent you was his love, With a whispered prayer from Sweet Ech - 0 Dell.” 
birds, and shout- ing braves; Si - lent is his voice in Sweet Ech - 0 Dell.” 


CHORUS. 
; mf f Pp R 
| Y pes ) ES Ea eT a SRS Sepe een ORE 
7 oe 
a ape : 
Ech - 0 Dell! Ech - o Dell! It was 
PP P 
i Le ee ee ee ee ee re 
aro. [AxD-be —— <<< rr 
A a Lees eg ete GER weer ete ee LOT cme ee ter oe 
et ce st 
PP P 
a Hat ae SES Se Gee pps eeees eee eee | 
was 3S i eee SS ees Q 
ae 
ce 
Ech - 0 Dell! It was 
Pp 
= = 
BASS. b mas Sass ce vA 
b H a Gar | aa eee 0 Va 


Swert Echo Dell.—2. 


there we soft- ly said  Fare-well!” And the towering granite crest No - bly 


—$—— —— “Fare - well!” ——_——— 
Pi Tr SS) Cl Se ee eee) 
_ JSS eee ee ee eee 
"LSS F See eT == 
there we soft -ly said “ Fare-well!” And the towering granite crest No - bly 
. Sa SS ae ee eS) SE ee ae ee, Sees EE» eee ST 
-): ee ee ee 
5 v a aaa 2S eS a ee Ee ee 


; 7S = aaa] 
guards his place of rest, Near the love -ly lake of Sweet Ech -o0 Dell. 


fn 
s co . 
lo S 
> TE) a ee N S Fee dy ESAS GE SS a 
eS SS a Sea Se ear Gace es ogee Secor 
: eS ee ee 
guards his place of rest, Near the love -ly lake of Sweet Ech-o Dell. 
fN 
an 2 a a SE | ae Cee a Pe ee ee a eee 
fo 
0 SS ES SSD Da CEE Se Re a Roe as es Sn EE DY os 
———————— == = Sa 
eS er ee 
s + = Sa lied v 
' 
lo 
ey SS se ee ee ae 
PF 
e eS — = 5 
4 “Is he coming by-and-by ? 5 “ Would you crush my only joy? 
May I bless him ere I die? Surely I shall meet my boy ; 
Why then does he linger? Say, can you tell?” Why then does he linger? Say, can you tell?” 


“Mirrored in that mountain lake, “ Never will his weary feet 
Heaven is near, and he will wake Trayel more, yet may you meet 
Never elsewhere than in Sweet Echo Dell.”— Chorus. When your soul floats over Sweet Echo Dell.”—-Chorus. 


Bweet Eoho Deli.—3. 


Wists Me AWD O TN, 


SERENADE. 


As.Sung by Miss LYDIA THOMPSON. Arranged by MICHAEL CONNELLY. 
anos 
0 
: I, Lo! 
Allegretto Amoroso. 2. Nor 
2 


shines on high Di, - .an °-"- <a, Mer - ri - ly laughs — each star : As 
bring thy fan nor veil, love, Nei - ther thou wilt re - quire, ‘Too 
a a 
9 pe ae = SSS 
my aaa) Sa Eee ey 2 RE SSS eS a) 
ASD, SSS Sa SS) a eee 
ee $- 
3 ee = semana aol ee ees I aa 
25-5 = Y Sa res EY ee 


if they knew, That I to you, Now touch the gay ui: = tar! But 
dark to know, Should thy face glow, With Cu - pid’s hid - den fire ! And 


they know our meet -_ ing, Nev - 


er a word they'll say, But 
ly if thou trem -_ ble, As thy hand _ lies in mine, Shall 
eee [a a ee 
ee ee = 
a E 
5 @& 
_ io = (a 
——__*—_ 3 el Se ee ET ee ——¥. 
Ee. ee ee See 


| ee 2 SS oa SS 


i - lent light, Our watch by night, And — fade at break of BAN oats. 
find out, Be - yond love’s doubt, That thou in - deed art WHUNO aia. sos 


a =e 5 es ee ee eet 
—— eee Sa ee 


na - ture 


leagues with me!.... No 


Pos So2 Ses SS Sas 


bird - ling will flut - ter, No ze - phyr will mut - ter, My love tale un - to 
a JeSorness See SS SS SS 


————= = SS eS Se 


=e BESTS 


thee | So wake from dreams mine own! With 


The Mandolin.—2. 


ness la - den, Look forth, oh! true maid - en, And, fear not, we’re a 


| Ss : pees aes 
SSeS es 
ee p=] 


kiss thee too rough-ly, Nor cold dew thee 


4 : 
chill! For love is Na - ture’s soul, and she bows to its 


will! Then come, oh come! oh come,- oh come! AS oct neice eens Eee EET 
ee _ ee _ —- == _aA 
5 = oI =e —s — Bee 
—* ia SEER LET EE | EST eee 
a ia 3 the 
= = —— == 


The Mandolin.—3. 


. 


Sf a Tempo. p 
F J = | ep, Dal (= a ee ee eee ae See a SS 
7\ |}; er] eee ee ee J eee eee ey eS SS — 
Oe == pe a’ 
ASV. @ aS ae eae) Ge) eee eee eee B paar ye ag 
shines on high Di - an - - a, Mer - ri - ly laughs each star As 
a 
* 


if they knew, That I to you, Now touch the gay gui - tar! But 


they know our meet word they'll say, 


si - lent light, Our watch by night, And fade at break of day. 
ee LET ae ee ee oN 2 
y 2 fe ae ere Ee 


Bittle Do-Leep. 


NURSERY SONG, 


Andante quasi Allegretto. $a 
% + > } ee Se ee Sa Seen es a 
30 = = 

eee = __ a | ee 

e =, 

1, Lit- tle Bo-Peep has lost her sheep, And can’t - tell where to find them ; 

2, Lit - tle Bo-Peep _ fell fast a- sleep, And dreamt she heard them bleat - ing; 

3. Then up she took her lit - tle crook, De - ter- mined for to find them ; - 


they'll come hoine, Wag-ging their tails be - hind them. 
Ah! cru - el vi - sion so fleet - ing, 
Wag-ging their tails be - hind them. 


Leave them a - lone, and 
When she a - woke, ’twas_ all a  joke— 
What was her joy to be - hold them nigh, 


NURSERY SONG. 


is > FF 
1. The King of France, and four thou-sand men, 
2, The King of France, and four thou-sand men, Marched up the _ hill, 


Drew their swords, and put themup a- gain, 
and then marcli’d down again. 


Sach and Dill. 


NURSERY SONG, 


Allegretto. 
mf 


1, Jack and Jill Went up the hill, To fetch a pail of wa - ter; Jack fell down, And 
2 Up Jack got, And home did trot, As fast as he could ca - per; Went to bed, To 


3. Jill came in, And she did grin, To see his pa - per plais - ter, Mo - ther, vex’d, Did 
ee 
: Zi Ss aa 
J - ‘ oa E —- @ - a 
SE ST BE . 
——————— 
2 2 oe oe o- oe : 
= Se 
— _—— | iF 


Ghree Ghildren Sliding- 
Citaaee past Alea: NURSERY SONG. 


= t i 1 
2a ee es 
ZS 


broke his crown, And Jill came tumbling af - ter. 1. Three chil-dren slid- ing on the ice, All 
mend his head, With vi - ne-gar and pa - per. 2, Now had these chil-dren been at home, Or 
whip her next, For caus -ing Jack’s dis - as - ter, 3. You pa-rents all that chil- dren have, And 


poco rit. 
aS 


———— 


S, 
on a sum-mer’s day, As it fell out they all fell in, The rest they ran a- way, 
slid-ing on dry grofind, Ten thou-sand pounds to one pen- ny They had not all been drowned, 
you, too, that have none, If you would have them safe a- broad, Pray keep them safe at home, 
iE Se Eee 
a ‘ 
id 7 lee cai <= 


| 
poco rie. 


* May be sung as a Four-part Song. 


My Mady Wind. 


Moderato e marcato. 


NURSERY SONG. 


mf ——___ SSS C_—_—_— 
o—h zg eS Sees “Ss EE) ce LS ees 
At 7 = : & a. RE. ES x 
a aoe io“ eee ree = Se 


. My la - dy wind, my la- dy wind, Went round a- bout the house to find A 
2, And then one night, when it was dark, She blew up such a ti- ny spark That 
3. And thus when once, my lit - tle dears, A whis - per reach - es itch- ing ears, The 


G@. eat SS aS ae = Se SS 


. . _—. Y 4 s e Nj 
chink to get her foot in, her foot in; She tried the key- hole in  thedoor, She 
all the house was poth-erd, was poth - - erd: From’ it she raisd up such a flame, As 
same will come, you'll find,.... youll  find,......... Take my ad- vice, re-strain the tongue, Re - 


tried the cre- vice in the floor, And drove the chim- ney soot in, the soot in, 
flam’d a-way to Belt - ing Lane, And White Cross folks were smoth-erd, were smoth - er‘d, 


- mem- ber what old Nurse has sung Of bu - sy la - dy wind, la - dy Wind «2210. - 
ES ER 
aa! ee eee, = 
| a et — = = = —_-—-—.—- re 5 
raw A —— St SS = = 4 
° oA z (fen Wy cope 
cres a 
(2 : es a == | 
=< SSS SS oe 
a = ae ee a | ee ae == 4 
———————— ee eae 1 : BSS 


The 


Words by ADELAIDE PROCTER. 


The tem- pest ra- ges 
The thun- ders roar, the 
Warm cur- tain’d was the 


wild and high, The waves lift up their voice and cry Fierce an-swersto the an - gry sky.... 
.  lightnings glare, Vain is it now to strive or dare; A cry goes up of great des- pair... 
lit - tle bed, Soft pil - lowd was the lit - tle head, The storm will wake the child, they said.... 


s o 
HH 
| 
€ 
Ege 
GA 
— 
zz BESS 
aa 
=a 
Mi- se- re- re Do - mi- ne. Thro’ the black night and driv- ing rain, A 
Mi- se- re- re Do - mi- ne, The storm - y Voi - ces of the main, The 


Mi- se- re- re Do - mi- ne, Cowr-ing a- mong his pil - lows white, He 


slentando. “~ 
— 


Bp) Ss a “el SES eg eS Pte] 
(= SS er eee Sa oie € 
= es Se a a LAL ee, 
ship is struggling, all in vain To live up - on the storm - y main, 
moan- ing wind and pelt - ing rain, Beat on the nurs - ‘ry  win- dow pane 
prays, his dim eyes wild with fright, Fa - ther, save those at sea to - night! 


4 
= / 

cres. 
— ———t- 
ba =a a1 sw 
J | 

a piacere. 
pe SS SS EE 
pve — = = SiS ae Saat ee Ss a ar 
AS, = o aS Re Se 2S SD ke Pee See 
e ¢-as 

Mi-se - re-re Do-mi-une, Mi-se- re- re Do- mi- ne 4. The 


morn - ing shone, all clear and gay, On a ship at an - chor in the bay, And 


Q Same 


a 


if —_————_—_——__ 
, _— Se re? | 
‘Al 2S ee 2 — 7) 
@ ae a es a oe = 
Do - mi-ne, (HUY oth oh Tie seb Do - - - mi - NOs cc Saree wiser heres 
| SS EES LS See eee | [ee ral 
=== = SS SS 
= oS —aA = SS -- = — 4 —|— 
x ff ee Sigated | 
oN Od = = 
Se —— 
o— RaSS| ES eeeeee o- =) = 
= = = as 
——- 


“Softly now the Light of Day.” 


VON WEBER. 


4 ——- ~ ——e 
(SS gs ee 


1, Soft - ly now the light of day Fades up - on my sight a- way; 
2. Thou, whose all - per - vad - ing’ eye Naught es- capes, with - out, with - in, 
3, Soon, for me, the light of day Shall for - ev - er pass a- Way; 
—- == 
Ct 


a 
= 
Free from care, from la - bor free, Lord, I would com - mune with Thee: 
Par- don each in - fir - mi - ty, 0 - pen fault, and se - cret sin. 
Then, from sin and sor - row free, Take me, Lord, to dwell with Thee: 


The Storm,.—3. 


THe JIJBWISH MATDEN, 


F. KUCKEN. 


Con dolore. 


1, The harp is now si - lent, the strings rent —_ in twain, The 
2, Where are they, the chil - dren of thy hon - ord race, They’re 
3 The arms of our daugh-ters, in chains they are bound, The 


heart’s se cret long - ings no long - er re- main; tim - id bird, 
fall - en in bat - tle to save thy dis - grace ; town lies in 
once fair and bloom - ing are bowd to the ground; day now seems 


=e = eae aes a a fa =i 
rae ee 
droop-ing, not up- ward it flies;.... En -_ snared by the fowl - er 1t 
ash - es, de - sert - ed the plain.... In gore they are ly - ing, the 


drea - ry and chill’d as the grave;... De - rid - ed by foe - men, the 


Con espress. : 
ag = — = —— Ste re 
a Stas a a 
ae 
oo = it? a ; 
flut - ters and dies, 0 Fa - ther-land dear, 0 Fa - ther-land mine, I 
brave that were slain. 0 Fa - ther-land dear, 0) Fa - ther-land mine, 0 
Jew is a slave, 0 Fa - ther-land dear, 0 Fa - ther-land mine, The 
a ee 


sempre CTes._— 


—— 
222 a SS SSS Sa SSS 


{ 
ne’er shall re - 


J pose on thy bo- som a - - gain. 0 Fa - _ ther-land 
when will Je - = ho - vah to ven-geance in - - Cline. 0 Fa - ther-land 
crave will wu - - nite us, I then shall be thine, 0 Fa ther-land 


dear, Fa - - ther-land mine, I ne'er shall re- pose on thy 
dear, Fa - - ther-land mine, 0 when will Je - ho-vah_ to 
dear, Fa - - ther-land mine, The grave will wu - nite uy I 


- gain, 
- geance in - cline 
3.3.50 SOE See eee shall be thine, 


The Jewish Maiden.—2. 


JOHNNY MORGAN. 


Written and Composed by JOHN READ. 
Arr. by H. W. FITCHETT. 


MODERATO, 
a # 246 
ir I-y 
Poo 


Se ae (a a ear te 


N 
RA Ss 


— mes Ose 
ferns SS ee = rg a 
————— o—— ————— ee 


7 


4 
1. Til sing of abandthat used to play mu-sic in the street, And if youheard it 
2. They used to say that Johnny was the’ smartest of them all, And round the a - rea 
3. Now one day Jolin he chane’dto play out - side a la - dy’s door, Andthe la - dy said she'd 
4.Johbn play’d up - on his in-stru-ment andpleasedthe la - dy _ so, That when the time ar- 


you would say it was a- ny- thing but sweet, They all play’d diff’rent in - struments, the 
windows he would of - ten make a call, His mu-sic was so _ live-ly, all the 
nev -er heard such mu- sic play’d be - fore, It pleasedher so that you mustknow she 

-rived to leave she would not let him go, She ask’d if he would mar-ry her, which 


RO ma = 
—_@—_f@-—— @——_ 4 = = ———— 
—@ Ud q =| Yo C C] g FE 
mu-sic was the same, They were all one fam-i - ly, and Mor-gan was their name. 


lat- est airs from France, The servant girlscould not keep still, the mu-sic made them dance. 
heavy -y sumswould pay To John to stand out - side the houseand play to her all day. 
John did ve -ry soon, Now on the or-gan Johnny Mor- gan playshermany a_ tune. 


John - nyMor-gan play’d the or- gan, The fa- ther beat the 


tam - bourine, The brother went pom, pom, pom, pom, pom, pom, All 
2 


mu-sic was so sweet, They of-tengot a penny to go in - to an-oth-er_ street. 
: S o- 
oe ae = 


J.F. P. & Co. 8922, Johnny Morgan. Page 3. 


THE IVY GREEN. 


Words by “ BOZ.” Music by HENRY RUSSELL. 
Allegro Moderato. ad lib. a tempo. 
ee eS a a eS eee coe ee Sa "| 
(5? by ‘ eee Pe oe ered 
e — \ —_ 

1, <A dain- ty plant is the I - vy green, That creep-eth o'er ru- ins old...... Of 
2. Fast he steal- eth tho’ he wears no wings,Anda stanch old heart has he...... How 


3. Whole ages have fled and their works de- cay’d, And na- tions have scat-ter’d  been.....But the 


In his 


right choice food are his meals 


I ween, cell so lone and  cold...... 


close-ly he twin-eth how close-ly he clings To his friend the huge Qak  tree..... And 
stout old I- vy shall nev - er fade, From its hale and _ hear - ty green ;.... The 


7 BS Ee ES Ss i i Sam 
=== ee ae Se ee 
wall must be crumbled, the stones de-cay’d ‘To pleas-ure his dain- ty whim, And the 


sly - ly he trail-eth a- long the ground, And his _ leaves he gent-ly waves, As _ he 
brave old plant in its lone- ly days Shall fat -ten up- on the past; For the 


f\_ | C7 ~ 
i(\\7_ i 
AY 


0 ! 
Pe aS 


mould’ring dust that years have made, Is a mer-ry meal for him. Creep-ing where no 


joy-ous-ly hugs and crawl-eth round, The mould of dead men’s graves. Creep-ing where grim 
state-li-est build-ing man can raise, Is the I-vy’s food at last. Creep-ing where no 


life is seen, A rare old plantis the I- vy green. ‘ Se sk 
death has been, A rare old plantis the I - vy green, Creep - ing where no life is seen, A 
life is seen, A rare old plantis the I - vy green. 


ie 


act 3 
rare old plant is the vy green, 


Se 


life is seen, Creep - ing, creep - ing, A rare old plantis the I - vy green. 


OV SE 0 aSaw—e=—eeeeee eee 


y L_Zae SS tees 
(Gj — 2 ——" 
" ’, cal 
(a = SS SESS 
=—=s Ea ir 3 
es 


NANCY OBE .* 


SONG AND CHORUS. 
Words by Frederick E. Weatherly, M. A. Musie by Stephen Adams. 


With Spirit. # * 


1,0f all.... the wives as eer you know, Yeo Noles. 3! ho! Yeo 
2, ‘The har - bor’s past, the breez-es blow, Yeo Oe 3! ho! Yeo 
3. The boa’ - s'n_ pipes the watch be - low, Yeo how... By ho! Yeo 


There’s none... like Nan - cy Lee, 
‘Tis long... ere we comeback I now ( Ho Gere « 
Then here’s a health a- fore we hol.2. 


vi 7— 
See there she stands, an’ waves her hands, up - on.... the quay,* 
yeo ! But true and bright from morn till night my home will be, 
yeo ho! A long, long life to my sweet wife, an’ mates at sea; 


wT 
* As sung on board the U. S. Twining Ship ‘“ Minnesota,” with more than 360 boys and men. * Pronounced Key. 


p-—e—?— #1} 
1 7 —— #4 = 
whisper low, when tempests blow, for Jack at 
Nan -cy’s face to bless the place, an’ wel - come 
may you meet a mate assweet as Nan - cy 


et 
afer se 


} 
ev - ‘ry day when I'm a-way, shell watch for me, An 
all so neat, an’ snug an’ sweet,for Jack, at — sea, An 
keep our bones from Da - vy Jones, where’er we be, An 


CHORUS, Jn unison. 


fal empo. 
. 


——- == 
2S Se eS 
: 
sail - 


The ors wife the sail - or’s 


siar.... Yeo = hole... 


shall be, 


NL QO 


Le 


hi 


Staite. shall? be, 


The  sail-or’s wife his star shall 
oN 


CLOCH ERLE. 


Words by ARTHUR SKETCHLEY. Music by JAMES L. MOLLOY. 
if 


L_f r. 


“ae s -@-° : . —— i 
1, Spinning was young Clo- chet - te, Came a fond youth to  wo00,..... She was a sad ¢o- 
2, Si- lent was young Clo- chet - te, Grieved in her heart was she,..... For thougha sad ¢o- 
3 


3; ge me, he said, Clo- chet - te, This lit-tle blos-som take,..... Wept, then, this sad co- 


- quet - te, He: was, a. lov - er trues. <: Clo - chet - te, Clo- chet - te, You 
- quet - te, None was so dear Se Nea serechs cr Clo - chet - te, Clo- chet - te, I 
As though her heart would break....... Clo - chet - te, Clo- chet - te, I 


n Ist & 2d time. 
7, —— 2S Ss SSS Se ES Sa Ee ae eas eee es ee Ss 
aE _ eee eee po 4 ee ee iS; s = 
drive me far from yon,..... Clo-chet - te, Clo-chet- te, I come to say @- diéu............ 
go for love of  you,..... Oh! speak then dear Clo- chet - te; She on- ly said a- dieu..... ais arate 
know now you are true,..... Glo=chet-- te, Clo'-chet- te, Wellli (Omit. io -cmnn aerial eer J 


Foboa dopo oobise COREE SOE nev-er say a- dieu. 


i rall a tempo. ft ip 
—— ee EE 
wor, Se nee a ee et ee 

Vel ‘G ic ia c as 2 me og © & ©|-0 o & «@- rs Sa 
‘6 ~~ 


Words by TENNYSON. Musie by DOLOLES. 


Vivace. 


ral +, +, | + Shala) Jabs 
po Cea Sara Maree = = aS s— a — = SDS DS 
PS TIN ze @ o «+ @ “ @ « @ ae aenavevgweaeawveva 
a ete 
D =e 
pn 2 —_ 
y- 44S ine ; 
: : 4 — : + ~~ 
(QS Ns es a Se SS he 


1, With ma-ny a curve my banks I fret, By many a field and _ fallow; And 
oy ail wind a - bout, andin and _ out, With here a _ blos- som _ sail-ing; And 
3 I steal by lawn and gras- sy plots, I slide by ha- zel  coy-ers; I 


Ss 


*)\ 


a a =] —— 
ee 6 ¢ _¢— 
4 


ma-ny a fai - ry fore - land set With wil-low, weed, and mal-low, I 
here and there a lus - - ty trout, Ana here and_ there a grayling, And 
move the sweet for - get- - me-nots, That grow for hap -_ py lov-ers, I 
SS 
» SRR RR SR OA 
ante = = - os a a ry 


= > — 
5) ace ist eerie“ ‘a eee en on we 
eZ al a a aS aes 


slip, 1 slide, I gleam, I glance, A -mong my _ skimming swallows : I 


here and there a snow- y flake Up - on me as I trav -el, With 
mur- mur wun- der moon and stars In bram- bly  wild-er - ness-es: I 
~ Sva ~~ <= SS Bae Pe ee 
‘ S Ry §s 
SS @ ae Sere | RBS 4 s = 5 See 
g BA Atte ss Die eee 4 =e gp ge ey 
tg — + -s— | @ ae -@- eo eo = = J —_— 


make the netted sun - beams dance A- gains’ my san - - dy shallows; I 
ma- ny a sil- ver wa - ter - break A - bove the gold - - en gray-el; And 
lin - ger by my shin- gly bars, I loi - ter round my Cress - eg, And 


B8varcrrrrr ore 


The Brovk.—2. 


ie S 
he ——— 2 = — iy 
C] stew pig) heme = . 


y b | 
chat-ter, chat-ter, as I flow, 
draw them all a-long, and tow, f To join the brimming riv- er, For 
out a-gain gre and ne 


22S ss = 


ghz 2 ayy a a ah a) I _+ 


a tempo. 
ad = a: 
y. ag : A = ba | _§ i ee eee 
lew EE a en = Pr ~ o— = 7 
Ss [em] { ¢ (=< (4 = im “ a ew 
6 
——— Ss ear 
e [ = = I> 
—— ¥ — 
may come, and men may ae But I fe on for - ev-er, ev - er, 
Ss 
ae AR =44 JF a FF 4 po! ME uy 
— aa = Sees Ss = 
= a ee 
Dp 


I go on for - ev- er, ev - er, I go on for - ev-er. 


gre Se AH Sh A AD 


on @ 
> — — 6 — 


See SoS 


key : a ae 
U e 
Ue, _+j| DID 
(5 


\ 
h—-3 
‘A L SSS SESS SSS 
law o 7 
= a o - 


ARock'd in the Gradle of the Deep. 


Words by Mrs, WILLARD. Music by J. P. KNIGHT. 


Andante con moto. 


1. Rock’d in the cra-dle of the  deep,......... I lay me GOWI <cccey in peace to 
2, And such the trust that still is MING years Tho’ storm-y WHOS sacs sweep o’er the 


Saas ae 
a ——— ae: 
sleep ; Se - cure I rest up-on the wave,...... For thou, Lord.... hast powr to 


brine, Or though the tempest’s fi’ - ry  breath..... Rous’d me from sleep.... to wreck and 


* 


know thou wilt not slight my call, For Thon dost mark the spar - row’s 
0 - cean cavestill safe with Thee, The germ of im-mor-tal - i - 


fall ! And calm and peace-ful is my _ sleep........... Rock’d in thecra-dle of the 
- ty! And calm and peace-fui is my _ sleep,............ Rock’d in thecra-dle of the 
» 
Ba SS... —. aa aes 
| # ES Ee = 
= 7 255 3 a San Sere 
ae oe os 
| ~~ 
Pepe 
or * 
=A a ee fee eer 
ee eee i — ss 
{ fell bet a 
pp ad libitum. 
2 == SSS See Se SS »— [-—__—_——_-_——} 
an (=a SS 25 ee ae ae ee ——————— 
reg g y om 
deep, And calm and peaceful is my sleep....... Rock’d in the cra-dle of the deep. 
deep, And calm and peaceful is my sleep....... Rock’d in the cra-dle of the deep. 
8sva~nn 7 ae 
me = . 5 tr = 
am. fr aa ao- # & _ s 4 
y Se ee ee ee Sims * os = a 
(fro ee 6 sees 5 8 — a I ae : 
al uh | =a = a 
| 
e; : i 
GSE SS ES 2 ee eae E 


Boek’d in the Cradle of the Deep.—2. 


BETHLEHEM. 


THE SHEPHERDS’ 


NATIVITY HYMN. 


Composed by CHARLES GOUNOD. 


Written by ITENRY FARNIE. 


Allegretto Pastorale. 


In 


ho - - ly 
er mor- - row Dawn’d 


Be - ing 


A 
earth! A bri 


the Say - iour child, 


Be - hold 
As with 


low - ly, 
$ - Yow, 
In 


ll 


a 
er 


dled 
lon 


Cra - 
2. ON 
3. Babe 


He 


ght 


oh 
vil - lage 


- out hope, 


or 


wv - 
5 


0 


stall, Thy glo - ry veil - - ing, Thou 


low - ly 


weak and wail- - ing, 


7 : 
ih : 


i | 


mon - arch proud and 


Of 


State. ccc: 


re - gal 
were great and 
sa - cri - fice 


was 


yet 


sins 


Ne’er 


wild !..... 


in - fant’s birth !... 


dwell-ing rude and 
die 


with that 


cam’st to 


But these the Sav - iour 
a- tone - ment 


The world’s 


SOre.....- 


Our 
The 


done..... 


is 


AIDE a aee 


for 


’ 
| 
ih 


? | 


CTES, 


’ 


(eoaocos 


fa 


8 


’ 


na - tion 
was wroth 


a 
ils 


grasp’d 


Who 


great....... 


own 


His 


MOre....-. 


no 


God 
Time 


And 


DOLE scree 


TUD... sees 


hath 


course 


Till 


WON.......- 


3 


eeeesee 


Be eG 
=| 
o a 
— | 
s oo 
Riga’ 
o ® 
_—= — 
te ea 
A — | 
7 S2 
o od 
P= -=) 
6 8 
Sb 
2s 
Be 
a = 
_— 
' 

ro 
a= 
[| 

aS 


morn - ing Star 


| 
| | 


cmt 


EIS 
Ht 


i) te 


Bethlehem.—2. 


LERLBEPLPO. 


To be Sung without Accompaniment. 


* ELIJAH.” By MENDELSSOHN. 


eS === oS 
, 2S ° aes es ES (ee 3 
2 ee =A 


Lift thine eyes, 0 lift thineeyes to the mountains, whence com-eth, whence com-eth,whence 


2d Soprano. 


Lift thine eyes, 0 lift thineeyes to the mountains, whence com-eth, whence com-eth, whence 


~~ —— 
help. Thy help com - eth, com - eth from the 


sx SS 
com - eth help. Thy help com - - eth from the Lord, the 
dim. p cres. — pp 


Lord, the Mak- er of heavy - en and earth. He hath said,thy foot shall not be mov - ed, Thy 
——s dim. p cres. 


ee Bee a the Mak - - er of heav-en and earth. He hath said, thy foot shallnot be moy- ed. 
dim. p cres. 


ws 
Mak - - er of heav-en and earth. He hath said, thy foot shall not be mov - ed. 


Keep -er will nev- er slum - - ber, nev - er, will nev- er slum - ~=- bes, 


Thy Keep- er will nevy- er slum - ber, nev - er, will ney - er 


nev-er slum ain ise = ber. Lift thine eyes, 0 lift thineeyes to the mountains, whence 
if dim. Pp —_=$===—" sf a ———S ee 


slum - - - - - - ber. Lift thine eyes, 0 lift thine eyes.... to the mountains, whence 


dim pp —— i ————— ————__—_ 


slum - ber, will nev - er slum- ber, Lift thine eyes 0 lift thineeyes to the mountains, 


eth help, | whence com-eth,whence com-eth,whence com-eth help. 
sf —_—— 
en 


ee At 
com - eth, whence com-eth, whence com - eth  help,whencecom - - eth,whencecom-eth,whencecom-eth help, 


N= 
whence com-eth, whence com - eth help, whencecom - - eth, whence cometh,whence com-eth help. 


Teraetto.—2. 


ARIA. 
By MENDELSSOHN. 


© REST IN THE LORD. 


shall 


“ ELIJAH.” 
Andantino. ( g=72. 
Him, and He 


Lord, wait pa- tient-ly for 


ee 


in the 


PIANO. 


wait pa-tient-ly for 


the Lord, 


—— 
give thee thy heart's de - _ sires: 
———— = : mae et Somer er 
f Ay ; i rm @ (aay ae 
—2 __@ a2 
x = Ue See 
| —_ 
ens 
— 
a~—" 


heart’s de - 


——— Se 
C3 === 7 LE aes 
° 

and He shall give thee thy 


thee thy heart’s 


give 


pa- tient - ly for 
tr 
—_ 
oo 
ma, =. 


walt 
<= 


O Rest in the Lord.—3. 


- sires. 


=— 


FOR USE IN 


SN Cet oa FOOLS, 


e2Olns oOCrAt= CIRGLES “MUSICAL ‘GON: 
VN tONS GEE ClhuUBss, CONCERTS, Ete 


BY 


§. WESLEY MARTIN and W. H. WALTER, Mus. Doc. 


NEEEW “YOR. K: 
Peet seen by ©. M. \OCADY, 107 DUANE St 


= = ——— 


ERE AV IN Gee Ge tS OVO EX. 


The Welcome FEfour. 


By S. WESLEY MARTIN and WILLIAM H. WALTER, Mus. Doc., 
- For Singing Schools, Choirs, Musical Conventions, etc. 


$7.50 A DOZEN. SAMPLE COPY, 75 CENTS. 


Both popular and classical, uniting the genius and enthusiasm of the West with the culture of the East. . Fresh, original and beautiful, in words and 
music. Pronounced the best book for modern use published. 

More than two years in course of preparation. Contains the best thoughts of the best living composers. 

“ An exceedingly good music book * * * containing nothing of a low grade.”’—N. Y. Independent, ‘* Good.”—N. Y. Christian Union. 

Says a leading Convention conductor :—‘*I have now held two conventions with the ‘ Welcome Hour,’ and I never found the work nearly so easy with 
any other book, The music seems to be so perfectly adapted for such work, while it is fresh and good, The ‘ Merry Blacksmiths’ is one of the best concert 
pieces | ever used. It is immense with azzi/ on the ‘Pom, Pom’ part.” Says a classical music teacher of Philadelphia :—‘‘ I never saw so much good music 
in a book of the same size. All trash seems to be eliminated ; and even the simplest Singing School music is inspired and beautiful!” The N. Y. Chréstian 
Union says :—‘* The music is simple, unpretentious and good. It meets that popular and growing taste, especially in the Church, for worshipful music.” 
The N. Y. Jndependent says :—‘* It contains much of the Sullivan and Dykes order. We recommend it to schools, choirs and home singers.”’ 


1. Its Singing School department is alone worth more than 75c. 4. Its Concert Music is alone worth more than 75c. 
2. Its Chants and Tunes are alone worth more than 75c, 5. Its Glees and Part Songs are alone worth more than 75c. 
3. Its Anthems are alone worth more than 75c. Send 75c. at once and get a sample copy. 


BARGAINS IN STRATTON VIOLINS, CLARABELLA STRINGS AND CADY PIANOS. 


C. M. CADY, {07 DUANE STREET, NEW YORK. 


167 


ROMANTIC.,— Acrs. 
CHARACTERS.—Mary and Annie, two merry girls. Tom and Dick, two jolly young 
fellows, and a comical old boatman. 


RO 


Act 1.—A sofa or chairs covered with cloth being arranged like a boat and equipped 
with brooms for oars. The two girls are taken out to row by the two jolly fellows. They 
sing boat songs and enjoy themselves as if on the water, and then come ashore again, 


MAN 


Act 2.—Mary and Annie in their bed chamber prepare to retire ina bed made of sofa, 
chairs, pillows, etc., sticking out from under which, conspicuous to the audience, is a pair 
of man’s boots. The girls arrange their hair, put night-dresses on over their costumes, and 
just after getting into bed, while talking about the Row and their beaux, discover that they 
have forgotten to blow out the candle. After much teasing Mary gets out to blow out 
candle, and before duing so, takes a look under the bed, and seeing the boots screams “a 
man,’’ and both rush out screaming. 


Tic. 


Act 3.—Old Boatman discovered growling because the jolly fellows have not paid him 
for the boat they hired of him, and espying Dick in the distance calls him. Dick enters 
and tries to persuade him to give him credit, or tick as the old boatman calls it, in which he 
succeeds. 


ROMANTIC. 


Act 4.—Tom and Mary enter promenading in street dress. Stop to admire beautiful 
sunset, when Tom proposes to Mary and she accepts, when they go out. Then enter Dick 
and Annie promenading, who stop to admire sunset, when Dick pops the question and 
Annie accepts, then they go ont. Then enter all four, who meeting, announce their mutual 
engagements, which on being explained, are pronounced as a yery romantic coincident. 


END. 


DOMESTIC.— Acts. 


CHaRaAcTERS.—Mr. and Mrs. Prim, Miss Flora McFlimsey, Hon. Augustus Fitz Herbert 
Biddy O'Riley, and several servants. 


Act 1.—Biddy O’Riley in a kitchen kneading dongh, and groaning over the hardship 
of having to be maid of all work in a family of two, when young Mrs. Prim enters, and 
upbraids her with making away with the family provisions, and Biddy flares up, then Mrs. 
Prim scolds her for making bad bread, and Biddy wrathfally drives her out of the kitchen, 
packs up her old valise and band-box, and deserts the house, 


harades tor Parlor Performance. 


KINDLY FURNISHED BY 


HORATIO L. WAIT, Esq., OF CHICAGO. 


Act 2.—Mrs. Prim discovered in her kitchen trying to make the dough Biddy left into 
bread, and is surprised by the entrance of the gorgeous Miss McFlimsey, who has walked 
through open doors unannounced. Miss McFlimsey is very airy and says she knows nothing 
about bread making, when Mrs. Prim says she has made a mess of her bread and asks for 
instructions, when the exquisite Augustus enters unannounced also, and escorts Miss 
Flora off for a drive. 


Tic. 


Acr 3.—Mr. Prim comes home in a hurry and finds his dinner not ready. Scolds and 
says he must always have it ready at exactly 6 toatick. Mrs. Prim cries, and they have a 
scene, when he rushes off to advertise for a Domestic. 


DOMESTIC. 


Act 4.—Mrs. Prim in her parlor, and the door-bell rings, when she admits a green Irish 
| girl, who applies for a situation in answer to the advertisement. Then a Dutch girl comes, 
then an Irish girl, then a French girl comes, then an English girl, and so on. END. 


MERCENARY.—4 Acts. 


Caracters.—Old Mr. Croesus, Mrs. Croesus, Miss Columbia Croesus, Captain 
Flyaway Dash (formerly Jonathan Nash), Old Prudence Nash, passengers on steamer, ete. 


Acr 1.—Old Mr. and Mrs. Croesus discovered studying over a guide-book in a Swiss 
inn, planning a visit to the Mer de Glace. He makes funny blunders in pronouncing names 
of places, and Mrs. Croesus more ridiculous ones in trying to correct him. They call in 
| Columbia and wish her to go with them, but she seems in an abstracted mood, and pleads 
indisposition. As soon as the parents have gone, Columbia makes a signal out of the 
window to Captain Flyaway Dash, and then soliloquizes over her imprudence in encourag- 
ing such a rakish character as he seems to be. Enter Captain Dash, who encourages her. 
Expatiates on his great wealth and property in America, and persuades her to agree to run 
away with him, and heis very particular to make her promise to bring all her diamonds and 
valuables with her, 


CE —(Sea.) 


Act 2.—Scene on the deck of an Atlantic steamer in rough weather. Passengers sea- 
sick, etc. Columbia has married Captain Dash, and divides her time between being sea- 
sick and listaning to the Captain’s bright promises of the fine things that await her on her 

| arrival in America, 


NARY. 
Act 3.—Columbia in her room at hotel in Boston. Wondering where the Captain has 


gone to, and having looked everywhere for her diamonds, wonders where they can have 
| gone to. Enter Mrs. Prudence Nash and old Yankee woman, who wants to know if she is 


THE NEW BCHOOL JOT MUSIC. 


“The better music ts known and understood, 
The more it will be valued and esteemed..—MOoRE. 


Every one engaging in a course of musical practice, realizes the necessity for some intelligible form of understanding, some definite and practical basis of thought upon 
which to exercise independent judement as to the propriety and excellence of their own and others performances. 
The New School of Music seeks to supply this need by giving to musicai study the same form and common mould of other practical languages: and thus place the whole 
subject in the light of common sense and practical understanding of the people; rendering it plain and simple of apprehension, rapid in its attainment and correspondingly 


satisfactory in its results. 


FIRST PRINCIPLES. 


The New School of Music recognizes the music principle as 
an inherent element of the mind, which, originating in the in- 
tuitive impulses of emotional action only requires development 
appropriate to its use, to render it practically available as the 
natural language of the heart. 

Beyinning thus at the very source and fountain of musical 
action and developing its inspirational impulses to practical re- 
sults in the execution, music becomes a living principle of in- 
telligible expression, the truthfulness of which is manifest to 
the inherent consciousness at every advancing step of develop: 
ment as the subject is unfolded. 

For vocal performance the voice is formed to tones of sym 
pathetic expression: developing the full power, beauty and 
sweetness of the vocal tone and rendering its inspirational 
qualities intellectually available for effective expression in 
speech or in song. 

For instrumental performance the execution is formed to the 
sympathetic touch of inspirational action in the use of the in- 
strument; developing the full power and resources of the in- 
strumental tone and rendering it intellectually available for 
effective musical rendition. 

With this form of culture the performance becomes imbued 
with a delicacy of perception, depth of understanding and in- 
spirational expression unknown to the mere performing musi- 
olan. 

“Words should be subordinate to ideas; 


We do not place the pedestal on the head of the statue.” 
LANpDoR. 


Execution should be subordinate to musical ideas; 
We do not employ music for the sake of the performance, 


This new school of music is the result of more than twenty 
years of professional study and experience in the education of 
a large number of studentsin the author's home institution, and 
is believed to be the only one in which music is treated in its 
relations to our emotional and aesthetic perceptions. It will 
be found to meet the requirements of interpreting not only the 
best masters, of which it gives the key and rationale, but of 
the bona forms of modern composition as well; and un- 
doubtedly possesses at least as much intrinsic educational value, 
aside from its application to musical practice, as any other 
branch of popular education. Its aim is to present music as a 
subject of intellectual thought and understanding, rather than 
as a mere matter of executive dexterity or as a code of rules 


to be observed in its construction. It is therefore confidently 
offered as worthy the attention of the best educated musician 
as well as the amateur, or the student desiring personal im- 
provement. 


PRACTICAL STUDIES. 


The following subjects of study comprise the educational 
processes of the New School of Music, including the voice and 
one instrument. Mach study is complete in itself; is easy and 
readily understood, and may be taken separately, or any two 
or more may be taken together in the order of their succession ; 
the whole constituting a complete and symmetrical education 
in music. The church organ may be substituted for the piano 
and the whole course applied to the music of the church; or 
orchestra, or band instruments may be employed and the pro- 
cesses applied in that direction. 

1. “Voice Culture,” is a course of practice in the formation 
and use of the voice, the perception of its tone qualities and 
their application in vocal execution; by which it increases its 
emotional power and usefulness in proportion to its reasonable 
use, and which can never create physical disturbance or disease 
in singing or in speaking. 

2. “Piano Culture,” is a course of practice in the formation 
und use of the tonch, the perception of the tone qualities of 
the instrament and their application in piano exeention; by 
which the best qualities of the instrument ure made readily 
available to the performer and their excellence preserved to 
the longest possible period. 

3. “Musical Perception,” is a course of practice in the sense, 
thought and idea of musical effect; and the formula and inter- 
pretation of its sound. 

4. “ Musical Rendition,” is a course of practice in musical 
elocution, rhetoric, and the eloquence of yocal and instru- 
mental performance. 

5. “Rudimental Culture,” is a course of practice in the use of 
musical sounds and their notation, including all that pertains to 
reading the notes at sight, and constitutes the orthography and 
pronnneciation of music. 

6. Thorough Base Culture,” is a course of practice in read- 
ing and distinguishing chords by sight and sound, and their 
application in practical performance, and consiitutes the ety- 
mology of music. 

7. “Harmony,” is a course of practice in the construction 
and classification of chord effects and the order of their rela- 
tion in musical formulation. This is the syntax of music. 


8. “ Composition,” is a course of practice in the use of chord 
effects, their development into musical thought and idea, and 
appropriate arrangement in the formula of musical construc- 
tion; and is the prosody of music. 

Four of the above department viz:—“ Voice Culture,” 
* Piano Culture,” “ Thorongh Base Culture,” and * Rudimen- 
tal Culture,” are embraced in the following books. By James 
Baxter, Founder of the “ Baxter University of Music,” Friend- 
ship, N. Y. Author of “The Praise,” and other musical 
books. 

Price, 
Piano Courtoure, by James Baxter... + een ween eee G1.25 
Voice CuLturn, by James Baxter.....-.........----- 1.25 


TuorouGH Base Currure, by James Baxter 1.25 


“Rudimental Culture” reall) belongs only to Thorongh 
Base, as being the first branch of the Grammar of Music, but, 
as many wish to use the other book’s separately, the Rudi- 
metal part is inserted in all the above books. 

The above books mailed to any address on receipt of marked 

price. 
: It yet remains for the same author to treat of the four re- 
maining departments in two books—one to contain “ Musical 
Perception,” and ‘‘ Musical Rendition,” and the other ‘ Har- 
mony,” and ‘‘ Composition.” 


THE PRAISE, 


A book of Church Music by James Baxter, consists of 384 
full-sized pages, embracing a full variety of fresh, new music 
for Choir, Singing-School, and Festival uses, including nearly 
100 pages of Anthems. The new feature of this book is a 
department of Anthems, Concert Choruses, ete., arranged with 
orchestral accompaniments, such as can be played in almost 
every village, and which are alone worth twice the price of 
the book. Price $10 a dozen. Sample copy, $1. 


PUBLISHED BY 


C.M. CADY, 


107 DUANE STREET. 
NEW YORK. 


168 


CHARADES FOR PARLOR PERFORMANCE. 
_——————————————————_—__—_——————————————————————————————OOemElElE_UE_REE 


the young ‘‘gal’’ who has married her son Jonathan. After much misunderstanding, the! and after salutations, goes to place of concealment and brings out another black bottle, and 


painful truth comes out that Captain Dash is an unprincipled scamp and adventurer, and to 
all poor distressed Columbia’s questions as to his alleged possessions, such as ‘* Has he not 
got a rich copper mine at Lake Superior ?" etc., Old Prudence reiterates the answer “nary” 


& copper mine, etc., etc. 
MERCENARY. 


_ Act 4.—Captain Dash discovered gambling with an old 
diamonds. Enter Columbia, who storms and upbraids the 
deceiver, and finally faints away. END. 


mbling friend, for Columbia's 
Gaptain: Calls him a mercenary 


SPELLUNACY.-—3 Acts. 


Caractsrs.—Old Dr. Bookworm, Mrs. Bookworm, Bella and Dora, his daughters, 
Tom and Dick, two students, and Spelling Class, 


SPEL 


Act 1.—Old Dr. Bookworm discovered in his study, absorbed in studying a huge book. 
Enter his daughters, Bella and Dora, who ask for his dictionary, to find the word ora “ay. 
that Tom has been telling them of, to see what it means, and how it is spelled. Old Dr. 
Bookworm enters into a learned disquisition upon the word, and orthography generally, 
Tom and Dick call, and are shown into the library. Make love to Bella an ora. After 
having poked some fun slyly at Old Dr. Bookworm, and get him to hunt the dictionary 
through, in vain, in a very absorbed way, for the word Back-ache, which they spell out 
Bac-ka-che, and ask him the proper pronunciation of. Bye and bye the girls discover the 
joke, and the Old Doctor drives them all out of his study. 


LUNACY, 


Act 2.—Mrs. Dr. Bookworm discovered mending stockings, and complaining about her 
family cares. Calls in Bella and Dora to help her. They talk enthusiasticaliy about the 
spelling schools they have attended with Tom and Dick. The mother scolds them for 
being so intimate with these young scamps of students, when Old Dr. Bookworm enters, | 
and in a very excited state, tells of a spelling match he has attended, and proceeds to 
unfold a grand scheme he has formed for revolutionizing the educational systems of the 
world, by means of competitive spelling matches, His wife tries to check him ; says he is 
crazy, etc., but he makes out to make arrangements for his first match, and his wife, after 
moralizing over him, pronounces it a clear case of lunacy. 


SPELLUNACY. 


Act 3.--A spelling match, presided over by Old Dr. Bookworm. Conducted in 4 
ridiculous way, with as many participants as can be conveniently used. END. 


PLATONIC.-—3 Acts. 


CHARACTERS.—Mr. and Mrs. Grundy, Lucy Grundy, Homer Wise, a student, Farmer 
Granger and Wife, Bill Granger. 


PLA 


Act 1.—Mrs. Grundy and Lucy discovered talking about getting up some private 
theatricals Mr. Grundy engaged in reading newspaper. Mr. Homer Wise calls, Enters 
into the discussion, which becomes animated. Various lays are talked of, and extracts 
read or recited in an extravagant way, and so boisterous y as to disturb the reading of old 
Mr. Grundy, from whom they receive gruff interruptions. The play of Romeo and Juliet 
turns the conversation to the subject of love, and Mr. Homer Wise talks learnedly of 

latonic love. Mr. Grundy makes satirical comments thereon. The Grundys tell Mr. 
omer Wise they are going to spend the Summer up in Maine, with Farmer Granger, and 
invite him to visit there. 
TONIC. 


Act 2.—Old Mr. Grundy discovered seated in Farmer Granger’s house. Wonders where 
all the occupants have gone to, and why his family don’t arrive. Enter Farmer Granger, 
who salutes Grundy, and then goes mysteriously to closet and brings out a black bottle, 
and gives Grundy a drink, saying he keeps it for a Tonic, and cautions him about letting 
his wife or Bill know anything aboutit. Then ho out to hunt up his ‘told woman.” 
Enter Mrs. Granger. She is rejoiced to see Old cepa and then after salutations, etc., 
— to a place of concealment and brings out another black bottle, and gives Old Grundy a 

rink, saying she likes to take a little Tonic for her stomach’s sake, and cautions him not to 
She then goes out to get luuch for Grundy and his 
Enter Bill Granger, who greets old Grundy cordially, 


speak of it to the old man or Bill. 
family ready before the latter arrive. 


gives Old Grundy a drink, saying he keeps a little Bitters, for his health, and enjoins him 
Not to let the * old man or old the woman" know anything about it. The Grundy family 
are heard arriving, and the two go out. 


PLATONIC. 


Act 8.—Bill Granger discovered trying to do the able to ons but he is very 
awkward and unsuccessful. Ley fe thoughts are evidently elsewhere, and she seems to be 
expecting somebody. Suddenly Mr. Homer Wise arrives. Bill sees that he is not wanted. 
and leaves. Mr. Homer Wise and Lucy commence making love vigorously. Proposes ani 
is accepted. They embrace. When ryan | Old Grundy and Farmer Granger appear. 
Grundy pretends to scold, and wants to know if that is what Mr. Homer Wise calls Platonic 
love. Old nae holds up his hands in horror, and exclaims ‘* What will Mrs, Grundy 
say?” ND. 


WASHINCTON.—3 Acts, 


CuaracTEeRs.—Mrs. Shoddy, Mr. Shoddy, Miss Susie Shoddy, Hon. Frank Subsidy, 
Member of Congress from Buncombe, and Mehitabel, his wife, several Senators, etc. 


WASHING 


Act 1,—Mrs. Mehitabel discovered in her kitchen with a large washing, and her maid 
of all work has just deserted her. She must do it herself, and at once, as there is no 
laundry near and she is about to go to Washington with her husband who has just been 
elected to Congress. So she gets atuband goes to washing, when old Mr. Shoddy suddenly 
enters through open doors, having rung in vain, in search of Hon. Mr. Subsidy. After 
some plain Yankee talk from Mrs, Subsidy, and much grandiloquent discourse from old 
Shoddy, he retires, TON 


Act 2.—Parlor in Mr. Shoddy’s house. Mrs Shoddy and Susie talk about their expected 
visit to Washington and Susie sings operaairs. Ridiculously talks about “the Ton" and 
high life generally, Old Shoddy enters and tells how he found Mrs, Subsidy actually washing 
her own clothes, whereat the Shoddys are horrified. 


WASHINCTON. 


Act 3.—Mr. and Mrs, Subsidy receiving at their house in Washington. Several 
Senators present talking up a “stealing scheme.’ Enter the three Shoddys who are 


presented to hostess, and finding her a little airy, the ladies twit her about her doing her 
own washing, and trouble is imminent, but they are interrupted by arriving visi nates 
when old Shoddy attracts attention and shows his ignorance of matters gene: » excep’ 


‘| in the especial line of bribing Congressmen, etc. 


DILUTE.—3 Acts. 


CuHaractTers.—Miss Seraphina Scroggs, Susie, her nurse, Miss Blonde, Adolphus 
Stubbs, and Dr. Pilute. 
DI 


.—Mics Seraphina and Miss Blonde discovered in the boudoir of former. They with 
eye ees wonderful new hair dye. Afterwards talk about Adolphus, the 
adorer of Seraphina, and of his musical talent, when Miss Blonde terminates her visit and 


withdraws. ENp oF SCENE. 


LUTE. 


Act 2.—Adolphus appears under Seraphina’s window on a cold rainy night, clad in an 
old cloak made from a Poabepeodt holding up a dilapidated old umbrella, and carrying a 
frying pan for a Lute to serenade his adored one, His ardor has been much dampened by 
the rain, and he has caught a bad cold and moralizes over his folly, but makes an effort to 


| sing romantic songs and calls to his Seraphina. Suddenly old Scroggs’ dog is heard barking, 


so Adolphus runs off. 
DILUTE. 


ct 3.—Miss Seraphina discovered sick on a sofa, attended by Susie the nurse, who is 
betas scolded in a DerelAn way because seein caught cold while listening to serenade, 
and ee the Dr. does not come, Finally Dr. Pilute, a comical old Homeopath, enters, 
and has quite a discussion with Seraphina about high dilutions, and prescribes a ridiculous 
dilution for her, which causes Susie to express her mind in a very indignant way and drive 
the Doctor out of doors, whereat Seraphina faintsaway. END. 


a? : , ’ ‘ : 
ome 4 5 4 BAX s pre 


University of California 
SOUTHERN REGIONAL LIBRARY FACILITY 
405 Hilgard Avenue, Los Angeles, CA 90024-1388 
Return this material to the library 
from which It was borrowed. 


ai OCT Te 199 


WAN 1 7 1996 


i. 


examine this New System. 


tical Thorou 


. Practica 


Practical Piano Culture 


Culture. Practical Voice Culture, Each, $1.25. Music Teachers everywhero should 


St a 


Just Published : 


Baxter University of Music.” 


J 


ad Price. 
00 Lee 


eh 


Quatity 


or $15. 


A Marvel of Elegance aud Cheapness, 


POSTSCRIPT No. 2. 


——_ +e 


SEQUEL TO 


a er oe ae ee. ee ee ear 


stiblee WE SHOULD LOVE EACH 
‘concert. Price 3) cents. NANCY LEE. Words by F. E. Weatherby. Mu 


| 


Grandfather’s Clock, 


WITH A 


FINE LITHOGRAPHIC TITLE-PAGE, 


ILLUSTRATING THE FINAL FATE OF THE 
FAMOUS OLD TIME-KEEPER. 


A HOMELIKE, POWERFUL SONC. 


WORDS and MUSIC by HENRY C. WORK. 
Price 40. 


LATEST POPULAR SONGS. 


The Fisher and his Boy. Words and music by Chas. 
H. Gabriel. A descriptive song, powerfully dramatic. “40c. 

’Twas But a Dream. Words and music by Harry 
Percy. joc. _ 

Only Three Words—*I Love Thee.” Words by Willis 
Woodward ; music by Fernando de Anguera. Two charming 
love songs. 

Keep the Old Friends with the New. 
Words by A. W. French ; music by R. B. Mahaffey. 


Home is Home where all are Loving. 30c. 
Words by E. R. Latta; music by R. B. Mahaffey. Messrs. 
Latta and Mahaffey are preéminently the apostles of friendship 
and domestic love, and in the above two songs they give us the 
soundest kind of doctrine sugar-coated, so that it is delightful to 
take. Try it. 


Sunny Land Beyond the Sea. 30c Words by A. 
rench; music by Harry Percy. A splendid song, and 
well adapted to voices of medium range: 

Blue Eyes Waiting. Words by “Gracie”; music by 
Harry Percy. 30c. Blue Eyes waiting in childhood for papa ; 
in girfhood, for her lover ; in old age, for the angels, Beautiful 
and effective. 

Work with a Will. Wordsand music by Harry Percy. 
A rousing song—one that takes like wild-fire. 30c. 


3oc. 


MUSIC BOOKS. 


PARLOR GEMS. 


All of the above “standard music,” and about twenty 
other charming selections besides, are included in my book of 
“Parlor Gems,” sheet-music size, giving $20 worth of sheet- 
music, elegantly bound in cloth and gold, for $2. Such a 
book cost $ Hatake the war. ‘Parlor Gems” has reached a 
sale of more than 8000, and now sells faster than ever. 


THE PRAISE. 


A book of Church Music by James Baxter, consists of 384 
full-sized pages, embracing a full variety of fresh, new music 
for Choir, Singing-School, and Festival uses, including nearly 
1oo pages of Anthems. The new feature of this book is a 
department of Anthems, Concert Choruses, etc., arranged 
with orchestral accompaniments, such as can be played in 
almost every village, and which are alone worth twice the 
price of the bo<!:. Price, $10 a dozen. Sample copy, $r. 


SONGS OF THE NATIONS. 


Contains 40 0f the best National Anthems in their native 
tongues, with English words and historical notes. Compiled 
by D. P. Horton, for Schools, Homes, Glee Clubs, and 
Patriotic Gatherings. ‘The title-page of **Songs of the Na- 
tions’’ gives in six colors the flags, exact in form and color, 
and the inside the standard anthems, of the civilized nations 
from which American citizens sprung. It is not only an edu- 
cational work of necessity to the young, but, like one’s Family 
Bible, interests all who have, or ever had, a country or ances- 
ay to be proud of. Itisalready in use in the public schools 
of New York and Brooklyn, and in the school-ships of the 
U.S. Navy. ($4 dozen.) 40 cents. 


THE HEAVENLY CHOIR, 


By Theodore Wood, contains over 300 Hymns, with fresh, at- 
tractive Music, for Praise-Meetings, Sunday-Schools, and 
Churches. It isa Moody and Sankey order of book, and 1s 
abreast of the Revival tendencies of the times. It aims to 
combine the life, glow, and beauty that charm the young with 
the deep fervor and spirituality that edify the old, thus bridg- 
ing the chasm that has too long existed between the Sunday- 
School and the Church. It is the cheapest book ind 
or iihdocsatia hens as umber of fresh, new things that deserve 
the late P. P, Bliss’ best. Bound ia 
ents. 


AA 0.—LA BRISE; VALSE DECON 
Fis frien! Mr. Chas. F, Songer, 


Grandfather’s Clock Caprice—Piano. A.Himan. 40 
| Granéfather’s Clock Trans.—Piano. F. Brandeis. 60 
Grandfather's Clock March—Band. Downing. 75 


OTHER MORE. Song and’ Duet, 


or Song, Duet and Chorus. 


C. M. CADY’S MUSICAL PUBLICATIONS—CONTINUEI WU I] 


POSTSCRIPT. 


“NOTHING SUCCEEDS LIKE SUCCESS,” especially 
if it be deserved. , 

* Grandfather's. Clock,” by Henry C. Work, is now the best 
selling song in America. This popularity adds interest to all 
Mr. Work’s late songs, and above all, to his last one, ‘* The 
Fire Belis are Ringing.” which bears a splendid portrait of 
him. ‘This song has the musical strength of his “‘Marching 
Vhrough Georgia,” with vastly more dramatic pathos. 
Grandfather's Clock Waltz. A. Himan 


-MUSIC TEACHERS should have the Baxter Text-Books, 


illustrating the *‘New School of Music,” and the following 
admirable and carefully-fingered teaching pieces: “* Tripping 
Vialtz,” ‘1876 Schottische,” ‘‘ Merry Maskers,” and “Two 


Gems,” each 25c.; ‘*Sophie’s Birthday Waltz,” and ‘‘Sea- 
View Schottische,”” each 30c.; and for more advanced pupils, 
“Souvenir de Nina,” ‘*Himan’s Grand March,” each 40c.; 
‘Love Echos,” ‘March of the Century,” each soc.; and“ La 
Brise,” by Gottschalk, $1.09. 

Meet Me at Twilight. A charming love song. Words 
and music by Mrs. C. H. Barksdale, of Mississippi. 30 cents. 

The Fisher and His Boy A powerful, descriptive 
song. Words and music by Charles H. Gabriel. 40 cents. 

Mother is Failing Since Father Died. A touch- 
ing song and chorus: Words by Willis Woodward; music 
by}Fernando dé Anguera. 30 cents. 

"Twas But a Dream. Words and music by Harry 
Percy. A beautiful love song and chorus. 30 cents. . 

The two next are the latest and most popular of English 
comic songs. both by John Read. Whoa! Emma, 30c. ; 
Johnny Morgan, 25c.; while Mac O’Macorkity(Irish), 
by Henry C. Work, 35c., and Sitting on the Style, a song 
of Fashion Hater, 25c., are the most attractive in my repertoire 
of fun. 

The Welcome Hour is evidently to be fora long time the 
favorite singing book for schools, conventions and choirs, because acknow- 
ledged, wherever used, to be the best book of its kind. Send75 cents 
for a sample. 

Parlor Gemma is the most successful book of Instrumental and 
Vocal Music for Parlor us¢ ever published. Its lastedition (the eleventh 
thousand) contains ** Nancy Lee," * Let Me Dream Again,” and many 
other new and good things. Send #2 for a sample copy. Canvassers 
everywhere wanted for it, and ALL IN THE FIELD ARE DOJNG WELL ! 

Precious Jewels are yoing like a prairie fire, a t with good 
reason. It isthe FRESHEST and BES‘, as well as CHEAPEST 5. S. 
singing book inthe field. Think of such a book as this, substantially 
bound in board, at $15 a hundred ! i 

Stratton Violins” and ‘* Cady Pianos" ate also great successes, If 
you don't find information enough on thissheet, write me. All the books 
and sheet music herein mentioned are ALIVE. 

Address. C. M. CADY, 107 DUANE STREET, NEW YORK. 


'PRICE-LIST OF SMALL MUSIC- 


T By 
Never before published 


AL INSTRUMENTS. 


STRATTON VIOLINS. 


To have a good tone and improve rapidly with use, a violin 
must be scientifically made. The best that can be done is to 
imitate the old Cremonas that vary in thickness with almost 
every square inch. To do this perfectly by hand requires 
great skill and labor, which make such a violin cost from $200 
to $500. A’teryears of experiment and the expenditure of a 
fortune, Mr. John F. Stratton, an inventive Yankee, suc- 
ceeded about a year ago in perfecting machinery that turns 
out tops and backs of violins perfectly graduated to the model 
and varying thickness of the old Cremonas, almost as fast as 
a planing-mill dresses pine flooring. His factory is located at 
Leipsic, Germany, where choice materials and skilled labor 
are cheap, and he stays there to superintend it himself, while 
his partner, Mr. Chas. H. Parsons, manages the large business 
of John F. Stratton & Co, in New York. 


stock here I have for some months been selecting these im- 


From their large 


proved violins, and sending to all parts of the country on the 
following plan, with a success indicating that Mr. Stratton 
will soon have to supply the world, for I do not see how any- 
body else can furnish half so good an instrument for the mon- 
ey. It is working a complete revolution in the violin business. 
I select by fone, materials, trimmings, and finish, three 
grades, of the Straditarius model, as best suited to the wants 


of the American people, as follows ; 


No. 1,—Violin for the Million, with com- 
plete outfit—bow, wooden case, 


rosin, and extra Clarabella 

GRIM RNS ae os bit lees rent hema een n ts $5.00 
Wo. 2.—Violin for Amateurs, with com- 

plete outfit—bow, wooden case, 

rosin, and cxtra Clarabella 

alt te 1 ee oa in RO rts Uk Pe - 10.00 


No. 3.—Violin for Artists, with completo 
outfit—bow, wooden case, rosin, 
and extra Clarabella strings, 
$16.00 to 25.00 | 


Words by E. BR. Latta. Music by RB Mahafley. Spi 


sic by Stephen Adams, An execedinyly popular sailor’s song. Efiat, Price 25 cents. ** 


So confident am I of the rapid improve- 
ment of these STRATTON VIOLINS, that 
if any one who purchases one of my selec- 
lion, and uses it steadily at concert pitch 
for one year, is willing to sell it, I WEILL 
THEN PAY HIM TEN PER CENT MORE 
THAN I'T COST HIM; or, if the purchaser 
prefers his own judgment to mine, backed 
by the foregoing offer, I will send a violin 
to him by express, C. O. D., with instruc- 
tions t the express agent to hold the money 
six days, and if in this time the purchaser 
brings back the violin dissatisfied, he is to 
return the money to the purchaser and tho 
violin to me at my expense. 


The New York Musical Moxitor quotes this as a “‘ start- 
ling proposition,’’ and says: “‘Mr. Cady was for many years 
managing partner of the great firm of Root & Cady, Chicago, 
and is well known not only as a large publisher and dealer, 
but asan EXPERT IN SELECTING VIOLINS. . . No man 
could afford to make such an offer as the above unless he tho- 
roughly understood what he was talking about.” If you 
want a violin with a smooth, *‘ old” tone, such as could not be 
bought before the war for three or four times the money, try 
one of the above. The $s-violin is far superior in tone to any- 
thing ever before offered. for the money, but, of course, the 
higher you can afford to go the better you will be pl 


Clarabella Strings.—The best gut string that it is 
possible to make. For European reputation, see London Afu- 
sical Times. 1am sole agent for these strings in America. 
Single string, post-paid, to any address, on receipt of 25 cents; 
complete set for violin, go cents ; ditto for guitar, $1.25; 5 
strings, $1, 12 for $2, ‘‘rough” or ** polishe ’ as preferred. 
If you do not find ** Clarabella strings” at your nearest music- 
store, send to me. 


Guitars. 
1.—Good rosewood, patent head, in pasteboard case... ..$10.00 


2,—Solid rosewood American Model Concert Guitar, 
full, rich tone, wooden case and extra Clarabella 


Btrinige sy, tt soak thew age eee eV eens Reereatess 29.00 
Flutes. 

1.—Cocoa, 4 German Silver Keys... .....---.--.--++ - $5.00 

2.—Cocoa, 6 = . a ae it aU eieia= te o.< 8.00 

3.—Boxwood, 8 German Silver Keys.........--+---+++ 12.00 

4.—Cocoa, 8 ac aig te Ry Re ee 15.00 


All the above are full-toned, easy-blowing D flutes, skele- 
ton keys, patent lined, slide for tuning, GS. ferrules, etc., in 
fine paper box. 


German Accordeons. 


2.420 Keys, single reeds... 2: ences cccsernsecccccnces $2.co 
a.—ito. “ double reeds)... 3. ec ccs wccsrcuswnesuns 4.00 
3—10 “* “8 “grows of trumpets, 2 box basses 
with trumpets, German-silver corners,..........-. 7.00 
Banjos. 
Z.-—Scxew, sheep-Neail..5 .c<<uens coupe cedacataeeeecr en $3.00 


2.—Rosewood, calf-head, brass screws, brass hoop.. ... 


Maelzel Metronomes. 


Yo— Mahogany. «5.5 60, wii case = clowecbnanvaecestsoves c= $6.00 
2, —Rosewood, best 


pe “ “ 


Handsome Spring-back Forto, or Binder, for sheet- 


TASC whe map < cith 6.4was dag dled wa sein «Ose hT adabiay chery 3.25 
Rott, holds 1 to 50 pieces of sheet-music............ .. 1.00 
Puitwarmonic A or C Tuning-fork....-.......--+--- ++ 3° 


Bear in mind that all the above prices are SPECIAL, for cash 
only, often below regular wholesale rates, and secure what is 
good and durable—** scomthing what's noice.”’ If I quoted 
the cheapest, I could furnish guitars at $2, and violins, flutes, 
accordeons, and banjos at less than $1, but I do not touch 
such cheap ange. I have no time to answer questions of 
mere curiosity. If you have the money, mean to buy, and 
need information, write me. With cash in hand in this great 
musical emporium, my ‘experience and facilities for buying 
enable me to furnish anything musical, up to a $10,000 church 
organ, cheaper than you are likely to get it elsewhere. Money 
should accompany all orders, but over $5 in value may go 
C.O.D., if you prefer to paythe extra expense. It has been 


the rule of my life to sincerely study the interest of my cus- 

tomer, and I offer my record and experience of twenty-five 

years in studying and supplying the musical wants of the 

American people, as the best guarantee that you will get, 
EY. 


through me, THE MOST POSSIBLE FOR YOUR 


te" To Correspondents.—Wri 


possible what you want, jnclosing 5 


too short to be spent ovet little ch: 


ceipts. Ifyou do not know how much 
to send enough. Itwill be a gain to you and t 


for, if anything can be saved from the amo 


your order, I shall return it to } 


your address (town, county, and State), and do a 
sign your name legibly. 


107 Duane Street, New York. 


{. Gottschalk, 
0 dou 


aher pianoforte composition: 


‘id and 


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This was written by Gottschalk just before he left New York for the last time, 


Like some of the best of this great compose itis 


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